Jennifer Crupi

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Tools for Reassuring Contact, #1 recreates the comforting gesture of a hand on one’s shoulder. The work implies an empty space where a second user is encouraged to place his or her hand. Once engaged with the piece, spring loaded plungers press down on the fingers, exaggerating the contact and pressure. The use of rubber tool dip, color selection, and peg-board-like display when not in use, recalls a common clamp or tool from a big box store. These common materials, however, are juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Contact, #1 recreates the comforting gesture of a hand on one’s shoulder. The work implies an empty space where a second user is encouraged to place his or her hand. Once engaged with the piece, spring loaded plungers press down on the fingers, exaggerating the contact and pressure. The use of rubber tool dip, color selection, and peg-board-like display when not in use, recalls a common clamp or tool from a big box store. These common materials, however, are juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Contact, #2 recreates the comforting gesture of a hand on one’s forearm. The work implies an empty space where a second user is encouraged to place his or her hand. Once engaged with the piece, a spring loaded clamp is turned to press down on the knuckles, exaggerating the contact and pressure. The use of rubber tool dip, color selection, and peg-board-like display when not in use, recalls a common clamp or tool from a big box store. These common materials, however, are juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Contact, #2 recreates the comforting gesture of a hand on one’s forearm. The work implies an empty space where a second user is encouraged to place his or her hand. Once engaged with the piece, a spring loaded clamp is turned to press down on the knuckles, exaggerating the contact and pressure. The use of rubber tool dip, color selection, and peg-board-like display when not in use, recalls a common clamp or tool from a big box store. These common materials, however, are juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Contact, #3 recreates a comforting hand over hand gesture. Mimicing the design of a common spring clamp, the piece exaggerates the contact and pressure of the gesture. The use of rubber tool dip, color selection, and peg-board-like display, recalls a tool from a big box store. This aesthetic, however, is juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, plastisol rubber dip, acrylic

17" x 17" x 6"

The Tools for Reassuring Contact Series explores the power and communicative abilities of touch. With so much of our dialog today being through digital means, I want to reassess the importance of touch with a series of works for two people that focus on reassuring contact.

Contact, #3 recreates a comforting hand over hand gesture. Mimicing the design of a common spring clamp, the piece exaggerates the contact and pressure of the gesture. The use of rubber tool dip, color selection, and peg-board-like display, recalls a tool from a big box store. This aesthetic, however, is juxtaposed with sterling silver, highlighting the preciousness of the touch itself.

Sterling silver, acrylic, inkjet print on vellum.
15" x 8.5" x 5.5"

Permanent Collection, Renwick Gallery of the Smithsonian American Art Museum

Ornamental Hands: Figure One is the first of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

Sterling silver, acrylic, inkjet print on vellum.
15" x 8.5" x 5.5"

Permanent Collection, Renwick Gallery of the Smithsonian American Art Museum

Ornamental Hands: Figure One is the first of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

Sterling silver, acrylic, inkjet print on vellum.
Bracelet: 8" x 4.5" x 4.25," with display: 14.5" x 8.5" x 5.5"

Ornamental Hands: Figure Two is the second of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

Sterling silver, acrylic, inkjet print on vellum.
Bracelet: 8" x 4.5" x 4.25," with display: 14.5" x 8.5" x 5.5"

Ornamental Hands: Figure Two is the second of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

sterling silver, acrylic, inkjet print on vellum
18.75" x 8.5" x 9.5"

Ornamental Hands: Figure Three is the third of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

sterling silver, acrylic, inkjet print on vellum
18.75" x 8.5" x 9.5"

Ornamental Hands: Figure Three is the third of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

sterling silver, acrylic, inkjet print on vellum
8.5" x5.5" x 14"

Ornamental Hands: Figure Four is the fourth of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

Sterling silver, acrylic, inkjet print on vellum
8.5" x5.5" x 14"

Ornamental Hands: Figure Four is the fourth of a series that reinforces long held standards of beauty by recreating the elegant hand positions seen in artworks throughout the centuries. Each work consists of attachments for the fingers that are suspended by chains and braced on the wrist, positioning the hand marionette-style. A play on precious jewelry, the real decorative ornament is the gestures these bracelets encourage the wearer to assume. The splint-like aesthetic of the works also plays with the idea of training the hand to rest in this graceful manner. Like corsets and other restrictive beauty aids, Ornament Hands is yet another extreme tool for beauty. When not worn, the pieces mount onto displays depicting details from the historic paintings that inspired them.

Aluminum, steel, acrylic, laser print, vellum.
8" x 8" x 6"

Power Gesture is an implement that requires the user to assume the authoritative “steepled fingers” gesture. This position exudes confidence and is often used by one who has the upper hand in a situation. Psychologists believe assuming a posture or gesture will make one feel as they would if they did the gesture naturally. So for a confidence boost, Power Gesture is the implement of choice.

Aluminum, steel, acrylic, laser print, vellum.
8" x 8" x 6"

Power Gesture is an implement that requires the user to assume the authoritative “steepled fingers” gesture. This position exudes confidence and is often used by one who has the upper hand in a situation. Psychologists believe assuming a posture or gesture will make one feel as they would if they did the gesture naturally. So for a confidence boost, Power Gesture is the implement of choice.

Aluminum, steel, acrylic, painted wood, vellum.
12" x 15" x 16"

Leg Bouncer: Stress Expresser is an implement that aids in the rapid up and down movement of one’s leg while seated and resting the ball of the foot on the ground. A small action we may do without notice, Leg Bouncer calls us to think about how we express our pent-up anxiety. Alluding to marketing and a store shoe display, Leg Bouncer portrays itself as the next must-have gadget. The device sits on a display stand with an accompanying diagram and text that recommends it as “a satisfactory outlet for nervous energy.”

Aluminum, steel, acrylic, painted wood, vellum.

12" x 15" x 16"

Steel, acrylic, painted wood, laser print

10.5" x 11" x 8"

Finger Tapper is the implement of choice when you need to express pent-up frustration or impatience. Tapper’s spring loaded steel hammers amplify the sound and satisfaction of the gesture.

Steel, acrylic, painted wood, laser print

10.5" x 11" x 8"

Finger Tapper is the implement of choice when you need to express pent-up frustration or impatience. Tapper’s spring loaded steel hammers amplify the sound and satisfaction of the gesture.

Aluminum, acrylic, vellum

4" x 4" x 4.5"

Aluminum, acrylic, vellum

4" x 4" x 4.5"

Aluminum, painted wood, acrylic.

28" x 18" x 10"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

Aluminum, painted wood, acrylic.

28" x 18" x 10"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

Aluminum, painted wood, acrylic

24" x 24" x 12"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

Aluminum, painted wood, acrylic

24" x 24" x 12"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

aluminum, painted wood, acrylic

28" x 18" x 13"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

Aluminum, painted wood, acrylic

28" x 18" x 13"

Unguarded Gestures 1 -3 is the companion series to Guarded Gestures and consists of prosthetic-like neckpieces that encourage the wearer to perform varying degrees of open or assertive gestures. Unlike Guarded Gestures these pieces leave the midsection of the body exposed—from only slightly covering like the hands in pockets position of #1, to the open and assertive hands on hips of #2, to the more freeing active gesturing position of #3. This last piece is the only of the series of six that allows movement. The elbow supports keep the arms elevated but allow for rotation and pivoting so one can actively articulate their speech with gestures. Crafted of aluminum these pieces speak of the less self-conscious "lighter" emotions connected to these postures. When not worn, the pieces hang on frosted acrylic displays that resemble mirrors and have on their surface the dotted outline of a person assuming the same posture. The slightly reflective surface of the acrylic allows viewers to see their own posture, as they "fill in" the outline form with their reflection. The warm tones of the frameless displays seek to evoke the character of the gestures as well.

Sterling silver, foam, silkscreened mirror, frosted glass, painted wood

25" x 19" x 5"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

sterling silver, foam

18" x 7" x 3.75"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

Sterling silver, foam, silkscreened mirror, frosted glass, painted wood

25" x 19" x 8"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

Sterling silver, foam

15" x 7" x 4"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

Sterling silver, foam, silkscreened mirror, frosted glass, painted wood

32" x 19" x 6"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

sterling silver, foam

27" x 6.5" x 3.5"

Guarded Gestures #1-3 are prosthetic-like neckpieces that encourage the wearer to perform self-shielding, reserved gestures. Clasping the hands in a variety of ways in front of the body closes us off slightly from our environment and those around us, making us feel more comfortable and at ease—not too exposed. These pendants act as guards or shields in themselves and in the posture they encourage one to assume. When not worn, the pieces hang on frosted mirrors that have on their surface the outline of a person assuming the same posture. This display allows viewers to see their own posture, as they "fill in" the outline form with their reflection. This also serves as a reminder to viewers of their own body language—what posture are they in when they approach the piece? Studies show we are more apt to draw conclusions about other people's body language but ignore our own. The reflective component of this piece attempts to call attention to this issue and seeks viewers to consider the impact and meaning of their own posture.

Sterling silver, steel, copper

12" x 6" x 5"

Posture Gauge—Chin (introverted extroverted scale) is the first in a series that measures postures based on the meanings and feelings that are associated with them. Depending on the position of one's chin, this tool calculates one's level of introversion or extroversion from +3, extroverted to -3, introverted.

Sterling silver, steel, copper

12" x 6" x 5"

Posture Gauge—Chin (introverted extroverted scale) is the first in a series that measures postures based on the meanings and feelings that are associated with them. Depending on the position of one's chin, this tool calculates one's level of introversion or extroversion from +3, extroverted to -3, introverted.