Hive (2016) floats in the middle of the exhibition space like a spider descending from its web. Beeswax-coated mesh covers a conical frame of steel. Four concentric circles define the volume of the form. The four vertical supports of the cone join at its apex, reflecting the cone below by spreading outward after briefly joining. The cone dangles from a single rod attached by braided wire to another concentric circle between the spread vertical supports. The beeswax sinks between the diamonds of the mesh; the varying thickness of the wax causes the sculptural shell’s opacity to range from translucent to opaque. Voids in the beeswax coating allow viewers momentary glimpses of the interior of the cone.
Hive invites viewers to stoop inside the cone; the limited visibility allowed by the beeswax-coated mesh would force the audience to view and consider the exhibition environment in small parts. Viewing the exhibition space through small openings in the beeswax prompts viewers to question the completeness of their understanding of a scene or environment. The tight, encompassing fit of the cone planned to psychologically squeeze the viewer in order to construct a perception of isolation from the outside environment. The combination of yellow beeswax, diamond mesh, and hanging form relates the work visually to beehives or caterpillar cocoons – organic containers for separation and protection. The natural material of the beeswax contrasts with the geometric, man-made steel armature; the work hovers between an organically formed shell and architectural construction.
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