The Heart. The Intimacy of Vision series. Painting

"Eye miniature portraits, I argue, imply a reversal of the objects and subject of seeing and should be considered as (prephotographic) instances of "being seen" rather than of seeing". ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Hanneke Grootenboer If one was in love in the 18th century, one would present a painting of his eye in a form of a brooch, a bracelet or a ring to the adored one. It wouldn’t be obvious who it came from, but would be make it obvious there is someone expressing feelings and probably there are more than one of them. Nevertheless, is it a present for one - to look into the eyes of the beloved one as desired or more of a reminder someone is eager to watch one all the time? Is it simply a gesture of attention as any other jewellery would be? Possibly, a promise of an enduring sympathy, as romantic words about stars, brought from the sky, and peals, caught in the sea are? The engagement with the objects presented could be perceived as a way for the one wearing them exploring the self-adornment, seeing oneself through the eyes of the other as if in a mirror. The images used in the works, the Lover’s Eye jewellery and the eternal symbols, such as celestial bodies and stars, once were presents expressing emotions. Thus, the works of gold and imagery embody the ideas of voyeurism and narcissism, becoming similar to spy mirrors with a double way of watching each other depending which side of the mirror one is on. Inspired by ideas behind article on Lover's Eye phenomena, the objects aim to push this idea further and invite to explore the thoughts on gaze, emotions and gestures.