Lauren Elizabeth Cunningham
Margot Mason at Dewberry Gallery

In the group exhibition Temporal Works at the Dewberry Gallery, SCAD-student Margot Mason offers a unique perspective on female indentity. Her sculpture Ipseity (meaning "individuality") consists of two life-size female figures that are physically attached to household accoutrements in a surrealist fusion. The wall-mounted figure has doorknobs for hands and sconces for a head. The free-standing figure is in the act of falling head over high heels into a rug that absorbs her head and hands. Are the women becoming objects, or the objects becoming women? Mason's choice of media supports the second interpretation. Carpets and lamps are well-known for coming magically to life in fairy tales. In fact, Mason's wall-mounted figure recalls the character Lumière from Walt Disney's Beauty and the Beast. If Mason is commenting on female objectification or women's entrapment in domestic roles, the statement is an ironic one.

Mason's other sculptures are much more serious in tone, as evidenced by the titles alone (Time, Money and Work and Forgot to Get the Sugar). Two female silhouettes woven meticulously out of paper and duct tape hang on the wall. The bodies are flat, except for the back of the heads, done in relief, and the cast hands and feet mounted beside each figure, respectively. The hands and feet are rough and worn, as if they put in the time, money and work to create their braided bodies. The sculptures form a compelling image of the idea of the self-made woman. Mason's art thoughtfully explores how women are finding their sense of self in today's material world.

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