Exodus Trilogy, 2017

exodus, 2017

Sheet lead, galvanized nails. 76” x 85” x ¼”

The title piece of three pieces comprising “Exodus Trilogy (exodus, faygele, /’faget/)”, an installation created on-site in the 10’x8’x10′ project room at UConn’s Benton Museum of Art. Searching for meaning and motivation in the wake of the 2016 Presidential election, I thought of the pile of toxic lead scraps left over in my studio. I associated its smoldering power with the burning bush from Exodus, as a fury that fuels without consuming. Organized by size, and nailed to the wall, the lead lashes made an inverted triangle, appearing as a defiant symbol of discarded and persecuted communities.


faygele, 2017

Cast iron, sheet lead, painted wood. 4½” x 23” x 3½”

The second piece comprising Exodus Trilogy. Three unfinished iron casting of my daughter’s right hand hold small piles of half-oval lead sheet cutouts, salvaged from the same process that created the leftovers used for the title piece in the trilogy. Faygele is Yiddish for little bird, used as a term of endearment for a little girl, and as a derogatory epithet for a gay man, perhaps as a softer alliteration of /’faget/, the title of the last piece in this trilogy.

 

/ˈfaɡət/, 2017

Sheet lead, cut nail. 11” x 4” x 1”

The third piece comprising Exodus Trilogy. Spelled phonetically to encourage viewers to Google it, the title points to the etymology of the word faggot, used to describe a bundle of sticks gathered for fuel, an impoverished old widow, and, along with faygele, a gay man.

 

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