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Touch of Midas Text



"Bling-bling" (usually shortened to simply "bling") is a hip hop slang term that refers to expensive jewelry and other accoutrements, and also to a lifestyle built around excess spending and ostentation. It is Jamaican slang that has been adopted by some African American rappers and inserted into popular culture. The term "Bling Bling" refers to the imaginary "sound" that is produced from light reflected by a diamond.  -  Urban Dictionary 2007


The Touch of Midas, 2007

Assorted objects and latex paint, Dimensions variable


The myth of the greedy Phrygian King Midas begins when Dionysus grants him, his wish of turning anything he touches into gold. Midas was granted this wish due to his hospitality to the lost schoolmaster and foster father of Dionysus. While Midas is initially delighted with his powers to turn anything into gold, he soon finds he cannot eat (given his food turns into gold as he touches it). He then embraces his daughter who also turns into gold. Thus, all that was elemental to living became inaccessible to him given his power. Midas cries to Dionysus to take back the power, which Dionysus does. Midas then becomes a follower of Pan, or nature, and moves to the country to live naturally. Branding has the power of Midas. It transubstantiates whatever it touches into increased market value. In this work, entitled “The Touch of Midas,” the objects, which are found objects obtained in tag sales and the Salvation Army Thrift shop, are transformed by simply being painted a “Tiffany blue” and arrayed as a collection. They appear valuable and beautiful. One could actually imagine Tiffany offering such an array of objects for sale. Though beautiful, these objects appear strangely frozen, mute, and somehow inaccessible; not unlike those touched by King Midas. This power to transubstantiate the low and worthless, to the high and valuable, is a form of magic. Consumers willingly trade their wealth to fortify their identity by association with such objects. This magic summons our primitive longing for a

fetish to feel empowered.





























Fashion Bows to Nature; Nature Bows to Fashion, 2007

Diorama, wood, fake moss, bird’s nest and acrylic paint, 8 x 10 x 6 inches


This diorama addresses the blurred boundary between nature and culture. Some would argue that the

robin’s egg blue color is now more associated with Tiffany and Company than its natural source. As

culture borrows from nature, the diorama reverses the process in this simulated mutation.



































Brandscendence, 2007

Acrylic paint on seven panels.

10 x10 inches (each) – total size 88 x 10 inches


This work successively deconstructs the Burberry fashion brand into nothingness. The seven-step

process, analogous to the seven chakras of the Hindu system of esoteric anatomy, offers questions

about whence derives the magic of the brand, the religious devotions of adherents to brands, and

finally: when is the brand’s magic undone? The binary of high and low is again addressed with the

“earthy” and immanent brand being emanated from an unspeakable transcendent nothingness. The

work is reminiscent of the abstract art of Piet Mondrian and his non-representational pieces inspired by

the theosophists who believed in a spiritual knowledge superior to empirical knowledge.
























Sally Curcio

Trickle Down, 2007

Chandelier, crystal diamonds, fake ice cubes,Chain and mirror.
10 x 4 x 3 feet


This hyperbolic chandelier rains diamonds that transform into ice-cubes and finally into  puddles represented by mirrors below.   The objects that inhabit the chandelier are connected in a network of chains and are all quite luminous, though the economic value of these objects diminishes in the descent. The items are also connected through slang as diamonds are termed “ice” and then physically transform into ice in the plunge.   The only reflection in this tumult is at the bottom.


“Trickle down” is a term employed in economics discourse indicating that creativity is the domain of the upper classes and that their innovations provide wealth for the masses, not unlike manna falling from heaven.  The term is also used in certain discourses (Thorstein Veblen in particular) to suggest that all cultural values flow down from the upper classes.  New ideas and products originate in the upper classes and flow down to the masses, but are necessarily reduced in quality so they can be mass-produced and thus democratized.

Fashion Bows Text
Anchor 27
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