VIEW IN MY ROOM
The Bat's Remorse Sculpture
United States
Sculpture, 3D Sculpting on Wood
Size: 64 W x 91 H x 55 D in
Ships in a Crate
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About The Artwork
The piece was inspired by a photo of a prehistoric bat fossil which looked eerily human to me. I wanted to make a sculpture about how the lives of humans and other creatures across time are entwined. I used copper tubing, cement, and pieces of birch bark from fallen trees to make the figure—a character which is alive but vulnerable. In our current age, animals like bats adapt to our alterations of the environment, and face unexpected threats in the process. The bat nests in a structure made of a tree trunk and a furnace flue pipe. I look for natural forms that remind me of faces or other anatomical parts. If a piece of tree bark reminds me of a face, that becomes part of a sculptural story like this one. But manufactured things like copper tubing and cement are also part of that story, and it's fascinating to me to see how natural and manufactured materials can engage in a constructive artistic dialogue. I hope viewers will feel more concerned about nature and our place in it, and hopeful that we will find the solutions that are good for all.
Original Created:2017
Subjects:Nature
Details & Dimensions
Sculpture:3D Sculpting on Wood
Original:One-of-a-kind Artwork
Size:64 W x 91 H x 55 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
I greatly enjoy connecting with nature through sculpture. In my walks through woodlands in the northeast U.S., I am drawn to the fantastic diversity and adaptability of trees, marveling at the forms, textures, and colors of their roots, trunks, bark, and leaves. I gather fragments of fallen trees in my studio, study them, and see what they are hinting at. With these cues, as well as ideas and images from science, I seek to generate a dialogue between humanity and nature. These natural objects are intriguing to me because I find some aspect of humanness in them. I use the objects to help articulate a figure—a twisted vine becomes a spine, wavy bark becomes an undulating torso. These objects come to me already sculpted by nature—by genetics, storms, insects, or microbes—and it’s delightful to find clever new ways to employ their wonderful characteristics. Sometimes I’m thinking of a different animal—a bird or a bat—at the same time as a human. I want viewers to see my work as a space to feel free and explore what it is like to be human in such a complex universe.
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