Female Lions Do Most of the Hunting for the Pride

Set on a concrete base, the work rises as a narrow column. Every pane is a vertical channel with no horizontals to slow the lift. The steel sketches a form in fragments: right-angled members begin and stop, corners appear and break, and the glass is set as discrete fields that leave measured apertures. As you move, those apertures act like vents, pulling the gaze inside and sending it upward through the structure. Heat gathers at the perimeter in reds, ambers, and browns, while a lean seam of teal and green holds the center. The work reads less like an image and more like an updraft. In that current, I am not the titular hunter here; the appetite belongs to the world.