Vetne says her interests in exploring (and subverting) objects of status and consumerism started when she was growing up in Newburyport, Mass. She observed the differences between established “old money” and the newly affluent: A lot of the newer families built “McMansion” houses that looked like new versions of the town’s historic homes in an attempt to emulate that status.
Those experiences led to a unique form of art:
Vetne, 31, of San Francisco, has been building a reputation as a sculptor who works in an unusual medium: destruction. Vetne’s best-known work during the past three years has been a series of sculptures made from kiln-melted housewares crystal, which takes a distinctive, puddle-like shape when heated.
She then “mirrors” the melted crystal mass in a chemical process that turns the blobs into reflective objects. The pieces are presented individually or in big groups, like in her “Guilty Pleasures” installation that was part of the Catharine Clark Gallery’s summer show, “We tell ourselves stories … In order to live.” Ford and Vetne took the shopping trip at Clark’s invitation to find the raw material for a piece Ford recently commissioned from Vetne.
The idea of working with crystal, whether it’s fine Baccarat or more mass-market Avon, appeals to Vetne, who is interested in exploring issues of class, gender and materialism. “At the crux of my practice is the more middle-class people with some amount of resources trying to look ‘higher class’ than they are through the objects they acquire. I am interested in concepts of visual excess and how they’re supposed to communicate something. Usually, it’s ‘I have a lot of money.’”
Given the general reputation of McMansions, this is not surprising: take objects by which aspiring people try to build up their status and then destroy them to show what those objects are really about. Perhaps it would even be more shocking if an artist celebrated McMansions.
I’m also trying to imagine this destruction process applied to actual McMansions or parts of McMansions. Could a piece of performance art involve taking a wrecking ball to a McMansion? Or, imagine taking a two story foyer to a museum and showing it falling apart every so often, like the way “Concert for Anarchy” displays a piano in an unusual form. Or, take granite countertops and stainless steel appliances and destroy them.