Shary Boyle
The Dressing Room (Pupils, Lens, Focus)
Pupils, 2019, Porcelain, stoneware, Overall: 50 x 41 x 20 cm 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Lens, 2020. Stoneware, Duo view mirror, horsehair, epoxy, Overall: 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Focus, 2020. Terra-cotta, porcelain, glazes, epoxy, Overall: 52 × 36 × 24 cm (20 1/2 × 14 3/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/23
The works are a series of busts; each offers a distinct commentary on the division between the private self, and our public presentation. They present a feminist critique on the double gaze between self-view, inner gaze, and introspectiveness, with the awareness of the external view on oneself and being constantly observed and judged. Boyle points out contradictions between being watched, in a way that makes us feel alienated, versus being witnessed, which makes us feel seen.
The Dressing Room (Pupils, Lens, Focus)
Pupils, 2019, Porcelain, stoneware, Overall: 50 x 41 x 20 cm 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Lens, 2020. Stoneware, Duo view mirror, horsehair, epoxy, Overall: 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Focus, 2020. Terra-cotta, porcelain, glazes, epoxy, Overall: 52 × 36 × 24 cm (20 1/2 × 14 3/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/23
The works are a series of busts; each offers a distinct commentary on the division between the private self, and our public presentation. They present a feminist critique on the double gaze between self-view, inner gaze, and introspectiveness, with the awareness of the external view on oneself and being constantly observed and judged. Boyle points out contradictions between being watched, in a way that makes us feel alienated, versus being witnessed, which makes us feel seen.
The Dressing Room (Pupils, Lens, Focus)
Pupils, 2019, Porcelain, stoneware, Overall: 50 x 41 x 20 cm 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Lens, 2020. Stoneware, Duo view mirror, horsehair, epoxy, Overall: 44 × 30 × 24 cm (17 5/16 × 11 13/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/24
Focus, 2020. Terra-cotta, porcelain, glazes, epoxy, Overall: 52 × 36 × 24 cm (20 1/2 × 14 3/16 × 9 7/16 in.). Art Gallery of Ontario. Purchase, with funds from the Canada Council for the Arts and The Sculpture Fund, 2022. 2022/23
The works are a series of busts; each offers a distinct commentary on the division between the private self, and our public presentation. They present a feminist critique on the double gaze between self-view, inner gaze, and introspectiveness, with the awareness of the external view on oneself and being constantly observed and judged. Boyle points out contradictions between being watched, in a way that makes us feel alienated, versus being witnessed, which makes us feel seen.