I. PROTECTION:

Amet is to give life, and Met is to take it way.

Truth & Death is about the mythos of the Hebrew Golems. In the 1300s, countless Jews were being slaughtered at the hands of French and German marauders — that’s how the story of the Golem came to be. These stone protectors were said to come to life when inscribed with the
Hebrew word Emet (truth). They would save the villages and synagogues from destruction. When a Golem’s work was done, their Aleph was wiped away, leaving Met (death), and the being’s life would come to an end.

II. DIVINATION:

The pursuit of the future has been saught since the concept of time itself. To know of tommorow has been the forbidden fruit dangling infront of the human existance for eons. Throughout the ages we have attempted to harness the aether in an attempt to trasncribe the weavings of destiny — through the lens of the sculpted form we are finally able to pinpoint our own demise.

Reading the Ashes details the way we have used sculpture as a tool to decipher the indecipherable. Over the entirety of human history the one thing consistant in all cultures is the pursuit of the future. Unable to defy causality oursleves, we design tools and ceremonies to compensate. 

In Reading the Ashes, its about the most juicy of future knoledge; the end times. Two wizards parse the smoke to see the fate of their dear society. True or not, only time will tell...

III. IDOLIZATION:

We are but flawed beings; born onto the earth in imperfect husks. But, let us play god and sculpt life anew – Take the flaws of humanity and correct them.
After all, perfection is in the eye is of the beholder.

Sculpted form is based on the noriton of an “idealized form” found in most renaissance art like Michelangelo’s David. Through stone we are able to craft the human form into somthing greater than it actually is. To perpetuate greatness in a way that can be aspired to from people eons  to come.  

IV. IMMORTALITY:

Since the ages before the written word, we have been trying to escape the clutches of death. Living vicariously through stone, we record our lives and tales, finally cheating the inevitable and achieving immortality.
With the discovery of Laocoön and his sons, the classical era was finally given form and this fascination with the past is what begat a new birth of art and culture — the renaissance.

the Rebirth of Laocoön is about the discovery of Laocoön and his sons in 1508 on an Italian vineyard and how it changed the landscape of culture in a society just crawling out from a dark age. Without the intent of preserving the stories in stone forever, like the one of the Trojan priest Laocoön being attacked by sea serpents, the world might not have benfited from the resurgance of classical ideas and imagry.

V. DOMMINATION:

The Colossus stands tall and dominates all that lay beneath his gaze. However, nothing is immune to the eroding sands of time and eventually the colossi, and the legacy of the ruler it represents, will be lost to eternity. As much as all regality prolongs it, all kingdoms must eventually fall.

The Crumbling Colossus is about the nature of Collosi and their use as a tool of domination and empire from kingdoms past. The purpose of the massive stone works are not unlike that of a big brother figure. Showing glory and domain to those looking upon its gaze, and subjugation to those beneath it. While some Colossi are still present today many have fallen from their great hights and like their rulers who created them, are also lost to the sands of time.

VI. IMMOLATION:

I am one, I am all, I am sadness, I am death. Through the mask, I can be everything.

Lamb is about the use of masks in ceremonial practices by ancient cultures across the globe. Masks have been a part of rituals since the dawn of culture itself, and have been used to characterize and impersonate the ethereal. With them, rituals gain a corporeal meaning and myth takes form.

In this scenario, Lamb depicts a ritualistic sacrifice to appease a hungry god. The top three masks depict the sacrifce with its heart, body, and mind being rendered. The beastly diety in the center is aided by the two executioners on its lower side, each one sharp and harmful. Finally we are left with nothing more than leftovers of the sacrifice; the spirit and the bones.

It matters not the person under the mask but the role that they play. Through masks we take on roles greater than our own, and personalities that stand the test of time.