Bewildering, Bejeweled, Bodacious Eggs

Historically, ostrich eggs have served both functional and decorative purposes. The Ancient Egyptians hollowed the eggs to store oils and perfumes. In the 1800’s, the Irish and Germans mounted ostrich eggs on decorative metal bases for use as goblets and steins. The sheer size of these eggs, about twenty-four times that of a chicken’s egg, also provides an ample canvas for decoration. Some groups in Africa carve elaborate designs on their very thick surfaces for ornamental purposes. A 2004 trip to South Africa introduced artist Lenné Nicklaus-Ball to this form of artwork. That year also marked the death of her grandmother, Margaret Nagy Nunn. The loss left her wanting a tangible memory of her grandmother’s glamorous life, therefore Nicklaus-Ball chose her collection of lavish costume jewelry as her inheritance.

Rather than wear the jewelry, Nicklaus-Ball decided to commemorate her favorite relative in a more artistic and eternal manner. The ostrich egg was chosen for the foundation of her tribute series. She noted its aesthetic potential in South Africa, and the ample armature also seemed serviceable to bear layers of additions. With its maternal references, the use of an egg in these sculptures also strongly reflects the relationship shared by Nicklaus-Ball and her grandmother.

In this collection, each piece represents a specific time or event in Margaret Nagy Nunn’s life: a time of big bands, society balls, and Sunday hats. The sculptures are carefully adorned with vintage costume jewelry appropriated for each concept. These pieces evoke a lifetime of memories for Lenné Nicklaus-Ball, while manifesting themselves as incredible sculptures. Each assemblage offers a visual banquet of color, texture, and form meant to summon the viewer’s own recollections of times past.

Exhibition organized through Katharine T. Carter & Associates