Exposed Escapees by Catherine Grisez are wearable fragments of a larger sculptural work, Exposed, which blurs the line between jewelry and object. Made from copper, vitreous enamel, and sterling silver, these brooches have an organic, almost skin-like quality. Their smooth, undulating surfaces, edged with soft pink, evoke something bodily sensorial, fragile, and exposed.
Part of the Skin Within series, these pieces play with ideas of containment and release. As “escapees,” they suggest separation from a whole, an act of breaking away. Worn individually or as a set, they become traces of a larger narrative—reminders of connection, absence, or transformation.
Grisez often draws inspiration from nature, but in Exposed Escapees, the body itself seems to be the reference. The forms feel like peeled layers, shedding and revealing at the same time. By making sculpture wearable, she turns jewelry into something more than adornment—an intimate extension of form, thought, and touch are wearable fragments of a larger sculptural work, Exposed, blurring the line between jewelry and object. Made from copper, vitreous enamel, and sterling silver, these brooches have an organic, almost skin-like quality. Their smooth, undulating surfaces, edged with soft pink, evoke something bodily—sensory, fragile, and exposed.
Part of the Skin Within series, these pieces play with ideas of containment and release. As “escapees,” they suggest separation from a whole, an act of breaking away. Worn individually or as a set, they become traces of a larger narrative meant as reminders of connection, absence, or transformation.
Grisez often draws inspiration from nature, but in Exposed Escapees, the body itself seems to be the reference. The forms feel like peeled layers, shedding and revealing at the same time. By making sculpture wearable, she turns jewelry into something more than adornment that also becomes an intimate extension of form, thought, and touch.
Eating Diamonds 