The Art of Self-Love and Defying Definitions
By Clementina Verge
Photo by Laurie Victor Kay for LVK Atelier
What is it to fall in love with ourselves?
Interdisciplinary artist Ron Norsworthy explores this question through his most recent project inspired by the myth of Narcissus—not advocating recklessness or selfishness, but rather challenging beauty standards and questioning their origins, and encouraging self-love.
The 11-piece collection titled I, Narcissus was conceptualized in Roxbury, where Norsworthy resides with husband and fellow artist David Anthone, and materialized in New Jersey. Following its September premiere at The Armory Show in New York, it will be exhibited at Edwynn Houk Gallery on 5th Avenue beginning November 14.
Sculptural artworks made of photographs layered onto wood feature exquisite detail and dramatic shifts in perception depending on viewer placement.
From a distance, “Narcissus and Echo” appears to capture a dining couple. Up close, the illusion is shattered: There is only one man and the mirror reflects back a woman. “Vanitas (Double Self-Portrait as a Goldfish and a Vase)” looks like a painting of flowers in a vase. Up close, the mixed media is a compilation of broches, earrings, and pins.
“Hopefully, it challenges viewers to see individual pieces for what they really are, and apply that to people,” explains Norsworthy, whose artistic portfolio strives to create spaces that acknowledge “those who feel erased, marginalized, or invisible.”
Determined to inspire dialogue, Norsworthy often incorporates mirrors that project not what is seen, but rather “reflect what is happening within us.” Committed to social justice, his work provides glimpses into his life, emphasizing the importance of a personalized lens that helps all see their value and beauty, falling in love with their reflection.
Born in Indiana, his earliest memories involve crayons and scented markers; a nursery school teacher identified an innate gift, because “the drawings of children at that age do not fill a page” like his did. By third grade, he was the only child enrolled in adult art classes.
Watching his mother create patterns and sew fabric into garments allowed him to witness “art in motion,” further fueling his creativity. His father worked for John Deere, so the family also lived in Iowa and Illinois, where Norsworthy became acquainted with Grant Wood’s paintings; a replica hung in his bedroom, adding magic to the seemingly barren Midwestern landscape with “lollipop trees” and stylized corn and hay fields.
Yet, pursuing art was not an option in his family, so after graduating from Princeton University with an architecture degree, he moved to New York City. A self-identified Black queer artist, his journey “was a struggle,” but he “became his own Narcissus,” on a quest of self-love, self-invention, and creating opportunities for continuous creative growth.
He worked alongside architect Michael Graves, became art director and production designer for some of the most iconic 1990s music videos—working with Missy Elliot, Salt-N-Pepa, Michael Jackson, Busta Rhymes, and Madonna—and designed his own line of bedding and home accessories for QVC.
“I’ve been in a lot of spaces and found myself in all of them,” he reflects, “because I belong to myself and my life’s journey is to prompt reflections and conversations that create space for others. Being an artist is risky; condemnation or judgment are inevitable, but the power comes from daring to share and be vulnerable.”
Still, Norsworthy doesn’t insist on answers; his focus is on raising questions.
“I hope my works prompt those conversations and spark at least internal dialogue,” he reflects. “In a world made up of many ethnicities, races, and all kinds of families, society in general needs to be more inclusive. There is infinite potential for beauty and understanding of who and what can be beautiful.”—ronnorsworthy.com
