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Symbolism pushed its way in, photographs with dead birds, magnificent, hurt, in a club named after the primordial singing bird; and that’s the mode of action: he approaches stranger men at the club and asks them to photograph with a dead bird. The necrophilic layer, the emotions layer, the surprise, the threat, the spectacular sight of a boy holding a bird, struck with a spotlight.
It’s a story’s geology, something needs to be done, I thought in despair.
Raised on a farm it was commonplace for Sahar to see animal carcasses, skulls, rotting fruit and vegetables and it is in this milieu of birth, death and decay that she discovered beauty in the extraordinary.
While studying at Edinburgh College of Art she found passion in high drama, Schiaparelli hats, insect art and taxidermy receiving her degree in Costume Design and specialising in Millinery.
‘When I’m contemplating a new piece, I start by going through my collection of natural history books until I find something that “speaks” to me.
I work with it in terms of size and placement, and then begins the slow and meditative practice of putting paint to porcelain.
I was immediately sorry I hadn’t thought of it myself, that I hadn’t stolen him from life, into my story.
That sentence he said, reminded me of Jacob Biton’s poetry who wrote about himself and his brother Dogan facing their grandma’s death, the big mother.
In his meticulous photograph there is something primary, physical like a bone cracking out of skin. » Yaara Shehori The photographs & text were originally published in "The Hottest Place In Hell" magazine, May 7th, 2015 Victorian ornithologists and botanists would have heartily commended Susan Hipgrave’s remarkable series of hand-painted plates.
An almost Christian image, I thought, almost poetic, Jesus in the hands of Mariah.
Mariah holding baby Jesus and already visioning his future death, alongside the bird as some kind of prosthesis accessory, exposing the unsaid – here, someone died in the hands of a very living someone.