Elephant in the Room

Amelia Seabury, Evelyn

Conte crayon on paper, 2017

This picture displays the fascination I had with observing and depicting the African elephant several years ago. Just as with my piece, Jane, once again the subject is named, implying that this sketch is a portrait of an individual, rather than a representation of an entire species. Additionally, in contrast to Ivory Keys, Evelyn fills the composition but is not contained by it. Her figure extends beyond the page and is not cut by a confining frame, allowing her size to occupy the space she needs. The earthy tones and rough texture of the conte crayon celebrate the intricate wrinkles and varied forms of this creature. Each detail was not only an aesthetic exploration, but also an opportunity to learn about her fascinating adaptations. Evelyn’s wrinkled skin allows her to retain moisture and her large, floppy ears can quickly dissipate heat, both serving to keep her cool in the African heat. -Amelia Seabury

Amelia Seabury, Ivory Keys

Conte crayon on paper, 2018

At first glance, this piece has a whimsical, illustrative style, as if it could be a page in a children’s book. The strong highlights indicate a spotlight illuminating the elephant from outside of the composition, drawing us in closer, and soon we realize that this performance is entirely forced. The elephant is contorted to fit on a miniscule stool, crammed into a claustrophobic, framed composition. Adding to the cruel irony of the work, the elephant plays the piano, an instrument whose keys were made from their own kind. The work sheds light on the exploitation of nonhuman animals in the entertainment industry and the pain inflicted when trying to mold other species into our own restricting expectations. Specifically, I made this piece when Ringling Bros had just phased out their circus elephants, at once a jovial children’s show and a harmful environment for the nonhuman performers. -Amelia Seabury