I think what I’m aiming for is this
notion of I guess seduction and
revulsion something that’s really
beautiful
really lush rubbing up against something
that’s also perhaps repulsive I’m an
artist and roadkill resurrector the
first body of work that I really did in
the sort of vein was called domestic
arrangements and domestic arrangements
has the aesthetic of a magazine spread
of the perfect suburban home so there’s
these sort of really bright colors lots
of pattern at the same time that it’s
just not quite right this is my studio
which is space for taxidermy for making
photographs snakeskins
and for my various collections of
anything from the natural world that I
find the project developed because I
moved here to New Jersey and my husband
and I bought this house so I spending a
lot of my free time looking through home
design magazines then going on this
commute where I intersect with a lot of
roadkill I think it was that combination
I kind of came together to begin the
projects that I’ve been now working on
for close to seven years
so this is where I find starlings all
the time and actually probably some
other little critters too I found a
groundhog here but there’s something
what’s that
that one’s clearly clearly too far gone
oh yeah he’s really beautiful
looks like he had something in his mouth
like he caught a bug or something it was
probably paying attention to that not
Attar’s you have to sort of pick
roadkill up as you see it but when you
see it it doesn’t necessarily always a
convenient time to use it in a still
life or come up with a creative idea for
it so for that reason I have a freezer
where I keep my specimens until they’re
ready for their close-up excuse a little
bit frozen Tomatoes
that’s a baby bunny he’s just like sort
of cute and sad at the same time when
you pick up a squirrel you have a chance
to look at that thing really closely in
a way that you can’t look at that animal
as it’s curry’s by the way the process
really works is I’ll have a creature
whatever it may be I’ll sort of think
about the form of that creature then
then I start to think like well how
could I pose it with these various
objects and a lot of the initial process
of shooting is just sort of setting up
some fabric backdrops putting the animal
in front of it and sort of seeing how
the light plays how the collar plays
when you have something that’s beautiful
that’s also dead it immediately
introduces the tension there is a long
history of this memento mori remember
death in artwork really isn’t that to
sort of show that there’s all this
lushness and all this beauty but it’s
also is fleeting and so you should sort
of appreciate that beauty for as long as
you can I feel like in some way I am
taking these animals and removing them
from a spot where they have
unfortunately been killed and I try
ultimately to give them a respectful end
so I might immortalize them in a
photograph or perhaps their skin and
taxidermy but then I I bury them in the
woods and I’d like to think that that’s
a better end for them
you
notion of I guess seduction and
revulsion something that’s really
beautiful
really lush rubbing up against something
that’s also perhaps repulsive I’m an
artist and roadkill resurrector the
first body of work that I really did in
the sort of vein was called domestic
arrangements and domestic arrangements
has the aesthetic of a magazine spread
of the perfect suburban home so there’s
these sort of really bright colors lots
of pattern at the same time that it’s
just not quite right this is my studio
which is space for taxidermy for making
photographs snakeskins
and for my various collections of
anything from the natural world that I
find the project developed because I
moved here to New Jersey and my husband
and I bought this house so I spending a
lot of my free time looking through home
design magazines then going on this
commute where I intersect with a lot of
roadkill I think it was that combination
I kind of came together to begin the
projects that I’ve been now working on
for close to seven years
so this is where I find starlings all
the time and actually probably some
other little critters too I found a
groundhog here but there’s something
what’s that
that one’s clearly clearly too far gone
oh yeah he’s really beautiful
looks like he had something in his mouth
like he caught a bug or something it was
probably paying attention to that not
Attar’s you have to sort of pick
roadkill up as you see it but when you
see it it doesn’t necessarily always a
convenient time to use it in a still
life or come up with a creative idea for
it so for that reason I have a freezer
where I keep my specimens until they’re
ready for their close-up excuse a little
bit frozen Tomatoes
that’s a baby bunny he’s just like sort
of cute and sad at the same time when
you pick up a squirrel you have a chance
to look at that thing really closely in
a way that you can’t look at that animal
as it’s curry’s by the way the process
really works is I’ll have a creature
whatever it may be I’ll sort of think
about the form of that creature then
then I start to think like well how
could I pose it with these various
objects and a lot of the initial process
of shooting is just sort of setting up
some fabric backdrops putting the animal
in front of it and sort of seeing how
the light plays how the collar plays
when you have something that’s beautiful
that’s also dead it immediately
introduces the tension there is a long
history of this memento mori remember
death in artwork really isn’t that to
sort of show that there’s all this
lushness and all this beauty but it’s
also is fleeting and so you should sort
of appreciate that beauty for as long as
you can I feel like in some way I am
taking these animals and removing them
from a spot where they have
unfortunately been killed and I try
ultimately to give them a respectful end
so I might immortalize them in a
photograph or perhaps their skin and
taxidermy but then I I bury them in the
woods and I’d like to think that that’s
a better end for them
you
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