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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

Talking Gardening Glove (Madame Pinxy's), 1988

From

Talking Objects

Artist

Artist royalty

Blockchain

Ethereum

Token standard

ERC-721

Contract address

Token

Artist

Laurie Simmons

Collection

Talking Objects

Copyright

© Laurie Simmons 2022 All Rights Reserved

Edition

1 of 1

File Size

3123 × 4000 px (5.8 MB)

License

© Laurie Simmons

Medium

Non-Fungible Token

Property

Interior

Year

1988

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Talking Gardening Glove (Madame Pinxy's), 1988 by Laurie Simmons | Verse

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