Simmons’ legacy is broadly recognized for her use of dolls, toys, puppets, and other objects that recall upbringing in American suburbia. Through these subjects, the artist injects subversive commentary beneath their typical superficialities. In Talking Objects (1987-1989), Simmons employs ventriloquist dolls, disquieting subjects designed to entertain, but which encompass deeper and more sinister suggestions of power, control, and the subjugation of agency. Throughout the reading of Talking Objects, we find that Simmon’s not only embraces but further exaggerates the anthropomorphic features of these objects. Through dramatized, theatrical lighting and suggestions for formal portraiture, the artist pushes the absurdity beyond the boundaries of realistic expectation, providing viewers the opportunity to draw insights from the wreckage of believability. And what might these insights consist of? The prevalence of artifice within hyper saturated media conditions, the reflections of truths that are buried beneath such pretense, and, perhaps most significantly, our own human difficulties in being able to discern which is which. Edition: 1 of 1

Laurie Simmons

Talking Handkercheif, 1987

From

Talking Objects

Artist
Laurie Simmons
Artist royalty
0%
Blockchain
Ethereum
Token standard
ERC-721
Contract address
0x9e...2048
Token
2
Artist
Laurie Simmons
Collection
Talking Objects
Copyright
© Laurie Simmons 2022 All Rights Reserved
Edition
1 of 1
File Size
2916 × 4000 px (8.3 MB)
License
© Laurie Simmons
Medium
Non-Fungible Token
Property
Interior
Year
1987
Activity
No activity found.
Talking Objects by Laurie Simmons | Verse