Anna Elizabeth Sherman
she/her
Philadelphia, PA, USA
Anna Sherman is a Philadelphia-based metalsmith and recent Tyler School of Art grad. Melding hand-built methods with industrial technological processes, she elevates paper scraps and mass-produced findings to spark emotional resonance around memory.
“Loneliness is feeling nostalgic for experiences that were never yours. For moments, I hold the dreams of others in my own hands. I hold their scraps, lost to time, with a particular gentleness. Receipts, tickets, coupons, notes, tags. Capturing these fragile objects as precious jewelry, I seek to preserve the wistful memories they are associated with. Collecting paper scraps serves as an act of self-preservation in the face of my own pervasive loneliness. We are made of our memories and this remembrance saves us, despite how patchworked it may become.”
What does being queer mean to you in relation to your material choices? Is it something you consider?
“My work elevates negligible materials into ample sterling silver and titanium. Material value impacts the way my work is perceived by viewers. A recreated paper transit ticket etched into copper has vastly different perceived value than that of glistening sterling silver. Having material "standards" across my body is a statement as to how precious the experiences that lead to my wearable pieces are. I like to reaffirm that across my decision making as I have been in enough spaces where my voice was not valued the same as others."
Is the work queer because the maker is queer, or is it queer because the subject matter is queer?
“As a maker, my work stands as expression of self. Work is innately queer as it relates to the identity of the maker, but also can function as a representation of queer subject matter if done so with intentionality. Let's examine the creative process. The artist processes feelings/sensory input and then creates with those outcomes. When your experience is defined by your identity, you are repeatedly processing the effects of your social perception as an individual of a marginalized group. I cannot separate my queer identity from my artistic voice, but can shift how much context I provide as I see appropriate.
Sometimes you can identify work as queer based on subject matter or presentation. I consider things in my own work that are ‘queer-coded’ from my recreation of utilitarian forms (like carabiners) or presentation of ample color (a full titanium spectrum). However, I personally do not use defined symbolic representation like the double Venus or pink triangle."
"#Number10", Sterling silver, anodized titanium, stainless steel, 5" x 2.25" x 1.25", 2023Anything else you would like to share about this work? This can be an important part of the process, sourcing materials, or research.
"Experience. Live. Touch. Love. Then keep the remnants of your encounters. Receipts, tickets, coupons, notes, tags. Working with three-dimensional CAD software enables me to recreate the designs of my found scraps, harnessing my control over their presentation. A muted rainbow spectrum cultivates melancholy, the joy from once bright tones is vanquished. In order to confound perception, text and symbols are distorted through masking techniques. Syntax-specific language is introduced, with text chosen to appeal to emotion. Often text about the personal encounter is etched into the back of the piece as an intimate message for the wearer. Silversmithing is relied upon for form finding, bringing dimensionality into my work, reflecting the delicacy of handling a piece of paper.
This work is the result of falling in and out of love - romantic interests, strangers, and one-time encounters. My entire life I struggled to form connections as a result of my queerness, leading to my self-titled ‘pervasive loneliness.’
This current body is the result of coming into acceptance of myself, and serves as documentation."