The centerpiece of this installation is a deer carcass that the artist found on the road near her farm in upstate New York and then suspended in clear resin. Hung from the ceiling by chain link, the deer is surrounded by wood and steel cow stanchions, with quarry stones on the floor.
"...When I brought the deer in, one of the reasons was to make my work come up to it, maybe never use it, maybe never deal with it in person, but let my art come up to it. And I think in the year I contemplated it, I found it held the tears for me. And if the tears don't come in and I don't include them, even though I don't have to stress them, if they're left out, I'm not talking the whole truth. I think we've all gone overboard in being tough and holding our own and it's given us a way out that leaves us so lonely. We're bringing up a bunch of people thinking they can avoid suffering and they won't feel the pain of it, and a lot of the art they make is deadly, stupid, boring. I think we have to have a caring side, and not to admit it means we're not in touch. How can we talk to each other? How can we teach each other? And yet, how do we stay away from sentimentality, from this muck?" ---from an interview with Michael Brenson, 1/10/98