The Twins stand in the spotlight of human arrogance. They dance, carefree, appearing to cheat death. Gazing upon their beauty, we screen out the decaying teeth. We pause and accept these are indeed the remains of a mortal, yet still the fantasy persists, denying our fate is just as certain. How easy it is to look to the right or left of death and imagine our time is not borrowed.
The Chalice is one of a series of raised vessels in which I experimented with the process of raising a flat copper sheet into a formed metal cup. The glowing silver cross and dangling rosary likely depicts early memories of Sunday mass at St. Patrick’s and a childhood of mysterious rituals I did not fully understand. The image evokes a somber stillness. I recall a collective body of formally dressed strangers towering over my head, hopeful seekers of redemption. Amidst the waft of frankincense and myrhh, I was hushed to silence, and so I focused on this mysterious cup: The Chalice.
When carving into this piece, I saw a mouth dropped open in horror and then many faces spiraling upward and outward in an apocalypse. This sculpture is about the evil of oppression and the dignified spirit of those trying to fight it off. The presence seems noble, yet haunting, so I named it “Dark Knight” to emphasize both its dark being and the experience of a dark passage.