by Artist (90)
Karen LaMonte
American, born 1967
From afar, "Ojigi-Bowing" (2010) seems to glow from within. Without a head or hands, it seems almost ghostly. On closer inspection, the piece reveals the glow to be the overhead light refracting through the hollow interior out through the slightly frosted, but still translucent glass. As with her earlier, related series, "Dress Impressions," LaMonte is able to construct an identity and a narrative about her subject without identifying characteristics. Viewers are able to draw conclusions about the woman who wears this kimono: she is female as evidenced by the type of obi or sash she wears, she is married, as the shorter sleeve length indicates and she adopts an air of respect and reverence as depicted in the type of bow she employs, the ojigi, which is a bow from the waist. While not conveying the exact identity of this woman, LaMonte creates an individualized portrait.
American, born 1967
Ojigi Bowing
2010
Object Type:
Sculpture
Dimensions:
52 1/2 in. x 23 in. x 19 in. (133.35 cm x 58.42 cm x 48.26 cm)
Medium and Support:
Cast glass
Accession Number:
2012.0002 a-c
Credit Line:
Gift to the Montgomery Museum of Fine Arts in loving memory of Janis and Jimmie Sabel from their children, John Sabel, Keith Sabel, and Katherine Sabel Gayden; and the Sabel Acquisition Fund
Currently On View
From afar, "Ojigi-Bowing" (2010) seems to glow from within. Without a head or hands, it seems almost ghostly. On closer inspection, the piece reveals the glow to be the overhead light refracting through the hollow interior out through the slightly frosted, but still translucent glass. As with her earlier, related series, "Dress Impressions," LaMonte is able to construct an identity and a narrative about her subject without identifying characteristics. Viewers are able to draw conclusions about the woman who wears this kimono: she is female as evidenced by the type of obi or sash she wears, she is married, as the shorter sleeve length indicates and she adopts an air of respect and reverence as depicted in the type of bow she employs, the ojigi, which is a bow from the waist. While not conveying the exact identity of this woman, LaMonte creates an individualized portrait.
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