From initial petal to final feather, this mixed media installation took me two years to complete. Nature compels my work, always. But I'm most interested in trying to parse all-too-human systems for representing, understanding, and narrativizing relationships found in nature. We do a lot of storytelling in this domain: it often relies on slippages and truisms that feel comforting.
Both the hummingbird and the flower are creatures galvanized by human culture. Their relationship of mutualism is lauded as a perfectly balanced symbiosis. As a human animal, I can't fathom it. I can't fathom something so safe. And this troubles me. So I wanted to dwell in that space of uncertainty: to use knots as vehicle for examining very real representational tensions.
This is a relationship between hummingbirds and flowers in which the narrative veil of safety has been removed.
The Undead is composed of 14 steel hexagons that can be configured in any way and remain perpetually open. Flowers at different stages of bloom are sculpted from minuscule cotton knots. 3 differently-postured birds are suspended and mobile in flight with the help of steel attachments secured to the two large steel arms that purposefully impose support (rather than more passively or implicitly providing it). Red droplets ooze from the most vibrant blossoms that come into the closest contact with the birds' carved brass beaks. A separate structure rests in front of this circuit comprising a 3D flower with steel stem, underside, and leaves. It grows from a repurposed automotive gear. From this flower hangs a fourth bird.
All metal components of this piece have been fabricated by Loren Wilson whose collaboration at every stage of its creation helped my vision to be (un)alive.
