"Threading together fragile sculptures, found objects and bold paintings creates a visual representation of my experience of home and all of its tensions and comforts. Often viewed as too much, I choose to create from a place of abundance and eagerness. I paint with the full spectrum of color and use myself as the subject of my artwork, which enables me to approach my work with vulnerability and raw emotion. My relationship with my body and my identity as a lesbian have grown alongside my paintings, while the sculptural works have taught me to unapologetically take up space. I have learned to develop a relationship with the unknown and embrace floating in between belonging and seeking; always choosing openness."
Grey Von Cannon (b. 1994) is a multidisciplinary artist based in Durham, NC where she works full-time as a studio artist. She holds a BFA in Metalsmithing and Painting from Appalachian State University where she began collaborating with painting and metalsmithing to create succinct works of art. She unites fragile sculptures with raw, expressive paintings to explore vulnerability, home and identity.
Grey Von Cannon
she/her
“Queerphoria is the feeling I get when I am making adornments and artwork that will bring the wearer joy and aid in self expression. Seeing others wearing bold jewelry has always brought me a profound sense of comfort and excitement. Making bold adornments has unleashed a "queerphoria" that motivates me and encourages me to be myself in everything that I do. I find so much community through my art and it has placed me amongst the most amazing individuals that share the same desire to be unapologetically themselves.”
What does [queerphoria] mean to you? This can be something felt, experienced, or made.
Use It All Up; Oil paint, steel, enamel on copper, paper on wood panel; 4" x 4" x 2"; 2022
“Enamel and copper foil are both fragile materials, but when united, they create a sturdy bond. I have always compared that bond to my relationship with other queer artists. We all show up as vulnerable and fragile beings, but we come together in a way that makes us stronger and more confident to be ourselves. It is much more empowering to be boldly yourself when you are supported by fellow queer humans. I use materials in a very non-gendered way intentionally. I make art that is made for every human. I work really hard to make jewelry that is accessible and welcoming.”
What does being queer mean to you in relation to your material choices? Is it something you consider?
Is the work queer because the maker is queer, or is it queer because the subject matter is queer?
“My work is innately queer because I am a lesbian maker, but I would argue that it is mostly queer due to my material use and concepts. I approach enameling in a non-traditional manner, using copper foil as a base in order to create a lightweight wearable sculpture. I have always rejected wearing anything uncomfortable or impractical that has historically been expected of women- heels, clothes without pockets, heavy jewelry, etc. When I am making wearables, I am thinking of the comfort of the wearer as well as rejecting gendered jewelry techniques. Every aspect of my metalsmithing practice feels queer to me because of the nature of my approach to gender, identity and adornment.”
Painted Bolo; Canvas, Oil Paint, Brass, Leather, 1" x 2" x 36" cord
“My studio practice has always been a place for me to freely express my ideas and emotions while exploring different techniques without the expectation of creating a fully-realized piece of art every time. I have bits and pieces of unfinished pieces all over my studio and that feeds my creative process in a huge way. I love using parts of unresolved projects to get me started on a new idea. I am a very intuitive, spontaneous maker and I thrive with experimentation. I rarely sketch ideas because I use my paintings as a visual jumping off point to inspire my use of color and mark making with metal and enamel. I have created a sweet little ecosystem of finding inspiration from my daily life to creating paintings to making physical, often wearable, pieces of artwork. Everything in my life is in conversation with my artistic practice.”
What role does your studio practice play in your identity- if at all?
“I am always thinking of the relationship my art will have with the world. As a queer woman, most spaces I enter are not built for me, so I am accustomed to being noticed and my jewelry has been a way of drawing intentional attention. If I am going to be noticed for being queer, I would like to feel and look my best through bold adornments. I also intentionally create pieces that can act as conversation starters in order to bridge the gap between inner and outer worlds. I view my body as my home and I want folks that wear my jewelry to feel as if they are decorating their body as they would their home. To find comfort in our bodies is a lifelong endeavor, but we can decorate them and find euphoria through adornments along the way.”
When creating your work, do you consider the relationship your object has with the viewer?
Just Enough; Enamel, Copper Foil, Steel, Silver, 2" x 3" x 1", 2022
We've asked you a lot of our questions... What is one thing you would like to share?
“Due to my non-traditional metalsmithing approach and my multidisciplinary art practice, I often feel insecure and that I don't necessarily belong in some contemporary jewelry spaces. However, [queerphoria] has given me a space to be exactly who I am alongside other incredible queer artists creating unique art. These art spaces are extremely important and vital to growing the metalsmithing community and I am really grateful to be a part of [queerphoria].”