Tony Dagradi

The Pedicure

2018

Medium: paint chip sample mosaic on panel CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Collage of Art in Design in 2005, and his BA from the University of Cincinnati in 2002. Although he now lives outside of the Queen City, his work continues to be shaped by his Midwestern roots. His work has been exhibited in numerous galleries and museums in North America and Europe, including the Cornell Museum of Art in Delray Beach, Florida, Temple Bar Gallery in Dublin, Ireland, the Newhouse Center for Contemporary Art in New York City, as well as, PULSE Miami Beach Contemporary Art Fair and Art on Paper NYC. Sturgill currently lives and works in New Orleans, Louisiana. The artist discusses the new body of work . . . My grandmother was a quilt maker. Born in 1915 in Appalachia, her quilts weren’t made from anything that you would find at a Joann Fabric store. She took objects that had an existing function and gave them a new life. I grew up sleeping under a patchwork of her faded housedresses and my grandfather’s work-worn button-down shirts. Where others saw scraps of tattered fabric that had reached the end of their lifespan, my grandmother saw Ohio stars, Maltese crosses and other quilting patterns. Tradition dictates an assumption of purpose, a prescribed path for everything that must be followed. Everything from work shirts to paint chip samples to wedding dresses have an agreed upon life arch. But an intervention, such as my grandmother’s, can give something a new purpose. A work shirt becomes a quilt, a paint chip sample becomes a mosaic, and a wedding dress becomes a bouquet of roses. The essence of the former purpose remains even as new characteristics are created, giving the objects a dual citizenship between what they were and what they have become. Until recently the tradition of marriage had a prescribed path as well. One man and one woman joined together in a life-long monogamous union resulting in children, and until astonishingly recently, they needed to be of the same race and religion and from similar socioeconomic backgrounds. Many people believe that wedding traditions have been static for millennia, but like everything else it’s in a state of glacial evolution, punctuated by dramatic interventions that create revolutionary change. In our time of titanic shifts in the definition of marriage, many elements are being added, blending ancient and contemporary traditions to create something new. My latest series of work, titled Something Old/Something New, examines the shifting notions of marriage by repurposing longstanding traditions into something more fitting for our current time. Secondhand wedding clothes are given a fresh start as roses, dahlias, and clematises. Paint chip samples are cut apart and spliced back together to spell out a couple’s longing for a non-conventional household. The French traditional of globe de mariée...

Medium: vintage glass dome, wedding dresses and fabric, Ralph Lauren shirts, barge wood, silver wire, ribbon, floral tape, crystals and faux pearls CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Collage of Art in Design in 2005, and his BA from the University of Cincinnati in 2002. Although he now lives outside of the Queen City, his work continues to be shaped by his Midwestern roots. His work has been exhibited in numerous galleries and museums in North America and Europe, including the Cornell Museum of Art in Delray Beach, Florida, Temple Bar Gallery in Dublin, Ireland, the Newhouse Center for Contemporary Art in New York City, as well as, PULSE Miami Beach Contemporary Art Fair and Art on Paper NYC. Sturgill currently lives and works in New Orleans, Louisiana. The artist discusses the new body of work . . . My grandmother was a quilt maker. Born in 1915 in Appalachia, her quilts weren’t made from anything that you would find at a Joann Fabric store. She took objects that had an existing function and gave them a new life. I grew up sleeping under a patchwork of her faded housedresses and my grandfather’s work-worn button-down shirts. Where others saw scraps of tattered fabric that had reached the end of their lifespan, my grandmother saw Ohio stars, Maltese crosses and other quilting patterns. Tradition dictates an assumption of purpose, a prescribed path for everything that must be followed. Everything from work shirts to paint chip samples to wedding dresses have an agreed upon life arch. But an intervention, such as my grandmother’s, can give something a new purpose. A work shirt becomes a quilt, a paint chip sample becomes a mosaic, and a wedding dress becomes a bouquet of roses. The essence of the former purpose remains even as new characteristics are created, giving the objects a dual citizenship between what they were and what they have become. Until recently the tradition of marriage had a prescribed path as well. One man and one woman joined together in a life-long monogamous union resulting in children, and until astonishingly recently, they needed to be of the same race and religion and from similar socioeconomic backgrounds. Many people believe that wedding traditions have been static for millennia, but like everything else it’s in a state of glacial evolution, punctuated by dramatic interventions that create revolutionary change. In our time of titanic shifts in the definition of marriage, many elements are being added, blending ancient and contemporary traditions to create something new. My latest series of work, titled Something Old/Something New, examines the shifting notions of marriage by repurposing longstanding traditions into something more fitting for our current time. Secondhand wedding clothes are given a fresh start as roses, dahlias, and clematises. Paint chip samples are cut apart and spliced back together to spell out a couple’s longing for a non-conventional household. The French traditional of globe de mariée...

Medium: vintage glass dome, wedding dresses and fabric, silver wire, mirrors, ribbon, floral tape, crystals and pearls CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Collage of Art in Design in 2005, and his BA from the University of Cincinnati in 2002. Although he now lives outside of the Queen City, his work continues to be shaped by his Midwestern roots. His work has been exhibited in numerous galleries and museums in North America and Europe, including the Cornell Museum of Art in Delray Beach, Florida, Temple Bar Gallery in Dublin, Ireland, the Newhouse Center for Contemporary Art in New York City, as well as, PULSE Miami Beach Contemporary Art Fair and Art on Paper NYC. Sturgill currently lives and works in New Orleans, Louisiana. The artist discusses the new body of work . . . My grandmother was a quilt maker. Born in 1915 in Appalachia, her quilts weren’t made from anything that you would find at a Joann Fabric store. She took objects that had an existing function and gave them a new life. I grew up sleeping under a patchwork of her faded housedresses and my grandfather’s work-worn button-down shirts. Where others saw scraps of tattered fabric that had reached the end of their lifespan, my grandmother saw Ohio stars, Maltese crosses and other quilting patterns. Tradition dictates an assumption of purpose, a prescribed path for everything that must be followed. Everything from work shirts to paint chip samples to wedding dresses have an agreed upon life arch. But an intervention, such as my grandmother’s, can give something a new purpose. A work shirt becomes a quilt, a paint chip sample becomes a mosaic, and a wedding dress becomes a bouquet of roses. The essence of the former purpose remains even as new characteristics are created, giving the objects a dual citizenship between what they were and what they have become. Until recently the tradition of marriage had a prescribed path as well. One man and one woman joined together in a life-long monogamous union resulting in children, and until astonishingly recently, they needed to be of the same race and religion and from similar socioeconomic backgrounds. Many people believe that wedding traditions have been static for millennia, but like everything else it’s in a state of glacial evolution, punctuated by dramatic interventions that create revolutionary change. In our time of titanic shifts in the definition of marriage, many elements are being added, blending ancient and contemporary traditions to create something new. My latest series of work, titled Something Old/Something New, examines the shifting notions of marriage by repurposing longstanding traditions into something more fitting for our current time. Secondhand wedding clothes are given a fresh start as roses, dahlias, and clematises. Paint chip samples are cut apart and spliced back together to spell out a couple’s longing for a non-conventional household. The French traditional of globe de mariée...

Medium: vintage glass dome and wedding dresses, Antique French wedding vase, Ralph Lauren shirts, ribbon, floral tape CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Collage of Art in Design in 2005, and his BA from the University of Cincinnati in 2002. Although he now lives outside of the Queen City, his work continues to be shaped by his Midwestern roots. His work has been exhibited in numerous galleries and museums in North America and Europe, including the Cornell Museum of Art in Delray Beach, Florida, Temple Bar Gallery in Dublin, Ireland, the Newhouse Center for Contemporary Art in New York City, as well as, PULSE Miami Beach Contemporary Art Fair and Art on Paper NYC. Sturgill currently lives and works in New Orleans, Louisiana. The artist discusses the new body of work . . . My grandmother was a quilt maker. Born in 1915 in Appalachia, her quilts weren’t made from anything that you would find at a Joann Fabric store. She took objects that had an existing function and gave them a new life. I grew up sleeping under a patchwork of her faded housedresses and my grandfather’s work-worn button-down shirts. Where others saw scraps of tattered fabric that had reached the end of their lifespan, my grandmother saw Ohio stars, Maltese crosses and other quilting patterns. Tradition dictates an assumption of purpose, a prescribed path for everything that must be followed. Everything from work shirts to paint chip samples to wedding dresses have an agreed upon life arch. But an intervention, such as my grandmother’s, can give something a new purpose. A work shirt becomes a quilt, a paint chip sample becomes a mosaic, and a wedding dress becomes a bouquet of roses. The essence of the former purpose remains even as new characteristics are created, giving the objects a dual citizenship between what they were and what they have become. Until recently the tradition of marriage had a prescribed path as well. One man and one woman joined together in a life-long monogamous union resulting in children, and until astonishingly recently, they needed to be of the same race and religion and from similar socioeconomic backgrounds. Many people believe that wedding traditions have been static for millennia, but like everything else it’s in a state of glacial evolution, punctuated by dramatic interventions that create revolutionary change. In our time of titanic shifts in the definition of marriage, many elements are being added, blending ancient and contemporary traditions to create something new. My latest series of work, titled Something Old/Something New, examines the shifting notions of marriage by repurposing longstanding traditions into something more fitting for our current time. Secondhand wedding clothes are given a fresh start as roses, dahlias, and clematises. Paint chip samples are cut apart and spliced back together to spell out a couple’s longing for a non-conventional household. The French traditional of globe de mariée...

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