E.V. DAY


  • SELECTED WORKS
<h4><em>Butterfly (Madama Butterfly, Puccini)</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> The heart-breaking tale of the genteel geisha Cio-Cio-San, known as Butterfly, and her love for the American naval officer B. F. Pinkerton poignantly depicts the tragic consequences of cultural misunderstandings. Here, the silver cranes embroidered on Cio-Cio-San’s wedding kimono are sliced out and fly away, symbols of happiness and youth, transforming the iconic costume into an image of triumph. Like debris, naval epaulettes dangle beneath her kimono as she blasts off to the heavens as a winged victory. <br /><br /> ------------- <br /><br /> <em>Divas Ascending</em>, was originally commissioned in 2009 and first exhibited in the Promenade of the David H. Koch Theater in Lincoln Center for the 2010 season of the New York City Opera. Presented by Salomon Contemporary, the series traveled to The Kentucky Center for the Performing Arts, Louisville in April 2011, Rosewood Crescent Hotel, Dallas in March 2012, Southern Methodist University in April 2012, and Houston Grand Opera in October 2012. Salomon Contemporary also exhibited <em>Butterfly</em> from <em>Divas Ascending</em>, along with works by Alice Aycock in May 2011. <br /><br /> <h4><em>Butterfly (Madama Butterfly, Puccini)</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> (detail) <h4><em>Carmen (Carmen, Bizet)</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> One of the most notorious women in opera, the willful and fiercely independent Carmen is the ultimate operatic gypsy. In this sculpture, the gold fabric of Carmen’s Spanish-style gypsy dress appears tough as armor, glinting between ruffles of black polka dotted tulle. The dress is pulled in all directions so it appears puffed-out and spiky, like a blowfish. Here, it is Carmen—not Don Jose—who wields the bloody knife, warning that “Love is a rebellious bird” and staying true to her word. <h4><em>The Clown (Pagliacci, Leoncavallo)</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> Based on a true story, Pagliacci introduces us to Canio, who is torn by his sadness and the role he must play as a clown. Canio is driven to violent desperation when he learns of his wife’s adultery, and in a performance within the opera, Canio’s acting turns into real emotion as he seeks his revenge. Here, Canio’s costume is suspended in a moment of free-fall surrounded by daggers. It's as though he just jumped from a balcony, referencing his unfettering from reality, an impression reinforced by the minimum of strings that hold the sculpture in place. <h4><em>Cinderella</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> This sculpture is composed of two Cinderella dresses that symbolize her transformation: the white, cake-like “Princess” dress with its pearls and panniers, and a dress found on a rack of the costume archive labeled “Distressed Peasant.” Ironically, the peasant dress is more a marvel of handiwork and artifice—its luscious cashmere woven to look like burlap, its hand-made lace hand-torn and rubbed with ink to look sooty, and its silk velvet corselette punched with holes. The bloated, regal Princess dress splits down the back, and the cicada-like, deluxe dishevelment erupts. <h4><em>Cinderella</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> This sculpture is composed of two Cinderella dresses that symbolize her transformation: the white, cake-like “Princess” dress with its pearls and panniers, and a dress found on a rack of the costume archive labeled “Distressed Peasant.” Ironically, the peasant dress is more a marvel of handiwork and artifice—its luscious cashmere woven to look like burlap, its hand-made lace hand-torn and rubbed with ink to look sooty, and its silk velvet corselette punched with holes. The bloated, regal Princess dress splits down the back, and the cicada-like, deluxe dishevelment erupts. <h4><em>Mimi - Rigor Mortis(La Bohème, Puccini)</em></h4> 2009 / 2010 <br /><br /> Mixed media (made with costumes from the <br />New York City Opera archives) </br> Approx.10 x 6 feet in diameter <br /><br /> The most popular work in the operatic repertory, La Bohème recounts the sad tale of the seamstress Mimi; from her rapturous love for the dashing poet Rodolfo to her tragic demise from a dreaded disease, dying in the freezing cold in the arms of her love. This exquisite example of a bustled Victorian dress in red velvet, with its laced bodice and satin ribbon, is so architecturally constructed it practically stands on its own. The figure of the unyielding dress, hovering like a headless sleepwalking zombie, seems frozen in the moment she reaches for her lover.