In 'Cornice', Yedidia investigated the link between the titular, architectural element and the female body. The cornice is historically a decorative component, originating from classical architecture, positioned as the crowning form upon exteriors or interiors of buildings. The artist employed the traditional technique of cornice making using a running-mould, and juxtaposed this tool with the image of her body profile, taken when it best matched Western society’s beauty standards: gracefully stretched with her arms up as a caryatid, appearing thin and static.
The cornice moulding process consists of repetitive, contrasting actions; a splashed layer of plaster is followed by the shaving action of the mould’s metal profile, repeatedly, until it reaches its seemingly seamless form. 'Cornice' is a series of long duration performative acts in which the artist moulds several angles of her body profile: crops of legs, breasts, buttocks, and last, her entire body. Being done vertically, the main challenge of this technique is to work fast enough before the plaster hardens, thus preventing the material from sagging. 'Cornice' depicts an inner-battle against time and gravity.
Cornice, 2020, performative sculpture series, plaster, iron, aluminium, wood, various sizes.
Photo: Jessie Yingying Gong
Romy Yedidia, Cornice, 2020, performative sculpture series, plaster, iron, aluminium, wood, various sizes.
Installation views from the exhibition Doing the Stuff With the Thing, Arti et Amicitiae, Amsterdam NL, 2021.
Photography credits — Photo 1, 3: Jessie Yingying Gong. Photo 2, 4 - 8: LNDW Studio.
Romy Yedidia, Cornice, 2020, excerpt from film, original length 00:04:29, cinematography by Michaela Lakova.
This project was made possible thanks to the Mondriaan Fund.