利茲·斯威格(Liz swigo)在倫敦托馬斯·戴恩畫廊(Thomas Dane Gallery)觀看了美國藝術家凱瑟琳·奧佩(Catherine Opie)的照片，她的最新項目迎來了靈光一現的時刻。我早就知道凱西的作品具有大師的氣質，痛飲說。《;但我清楚地記得站在她面前的橢圓形照片,思考如何cameo-like .’痛飲,2014年創立Lizworks作為創新平臺與當代藝術家合作,走近Opie問她是否有興趣一起工作在另一種形式重新定義她的肖像。swigo 2016年的項目enchanted (W*215)給Opie留下了深刻的印象，這是一個包含了7位主要女性藝術家作品的魅力手鐲，Opie立即同意了。“迷住”是一件令人難以置信的漂亮作品，在與利茲初次交談后，我確信她會考慮我的想法，Opie說。我一直在做這些肖像，我總覺得這是一場與浮雕人物的對話，尤其是當我開始用黑色背景制作橢圓形的時候。我真的想在客串中加入一些當代元素，把客串元素帶回來。斯威格一直喜歡把傳統的當代元素制作出來。這是“魔法”的指導原則，在新項目名為“客串”(Cameo)的項目中，她重新詮釋了一種最古老的肖像畫形式，這種肖像畫可以追溯到古代邁錫尼文明，當時奧林匹斯諸神的側面像是用瑪瑙雕刻的。我開始詢問人們在哪里可以找到能夠實現這個項目的雕刻師，痛飲說。我訪問了那不勒斯的Torre del Greco，那里制作貝殼浮雕已有幾個世紀的歷史，但要找到一個能做出原創設計的人并不容易。最后，我找到了吉諾·迪·盧卡(Gino Di Luca)，他是第三代客串制片人，來自最古老的家族企業之一。

The light-bulb moment for Liz Swig’s latest project came as she viewed the photographs of American artist Catherine Opie at Thomas Dane Gallery in London at the end of 2017. ‘I had always known Cathy’s work to have an old-master quality,’ says Swig. ‘But I distinctly remember standing in front of her oversized oval photographs, thinking how cameo-like they were.’Swig, who founded Lizworks in 2014 as a platform for creative collaboration with contemporary artists, approached Opie to ask whether she would be interested in working together to reimagine her portraits in another form. Opie was impressed by Swig’s 2016 project Charmed (W*215), a charm bracelet encompassing works by seven leading female artists, and agreed immediately. ‘Charmed was an incredibly beautiful piece and after an initial conversation with Liz, I was sure she would take care of my ideas,’ says Opie. ‘I had been making these portraits that I always felt were a conversation with cameos anyway, especially when I started making the ovals with the black background. I really wanted to make something contemporary in relationship to the cameo, to bring the cameo back.’Swig has always loved the idea of making the traditional contemporary. It was the guiding principle of Charmed, and with Cameo, as the new project is called, she reinterprets one of the oldest forms of portraiture, dating back to the ancient Mycenaean civilisation, when the profiles of the Gods of Olympus were carved in agate. ‘I set about asking people where to find a carver who could realise the project,’ Swig says. ‘I visited Torre del Greco in Naples, where shell cameos have been produced for centuries, but it wasn’t easy to find someone to produce original designs. In the end I discovered Gino Di Luca, a third-generation cameo maker from one of the oldest family firms.’