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detail of RAPUNZEL, 2001

hooves, the length of their lashes, the spots of their hides curl nose to small nose projecting cartoonish realism.Reactions to the tiny creatures are multifaceted and diverse. Because they are so well preserved and unencumbered by the usual fake landscape and flowers, there is an audience who expects them to wake up. Children tap the display and embarrass their parents.

Young women ask me who killed them. People let their eyes trick them into believing the fawns are breathing. The tragedy of beauty is its flight. The twins are gilded by their own demise so they are sleeping beauties.The twin fawns have been muses since I first saw them. The Mint Forest Series began with identical lithographed backgrounds, a soft Bambi green print copied from a Japanese children�s book. The figures that emerged were, like the fawns, ironic, delicate, and tragic. Jon Bonet Ramsey preened her way into the series. The case of Precious Doe, an ongoing investigation of a beheaded young African �American girl, perched herself between trees, her throat draped in poinsettias.The Mint Forest took on a storyboard when I placed the pieces side by side. The characters seemed posed in space and the narration changed based on the hanging pattern. The lithograph became a backdrop for fairytale glamour shots. Scenarios I imagined from newspaper articles were easier to explore cocooned in pastel green.We drench death in lilies and bronze the names of our dead sons on walls. We erect altars of toys and hold candlelight vigils to display our hope.

My twin fawns sleep endlessly on their baby blue block in my studio. These two creatures never opened their eyes yet their wondrous fatality evokes an acceptable alternative reality. - Peregrine Honig, 2004

In The Mink

Above images,left: MY LOVE IS BLIND (cane), 2002 and detail of LINOLEUM BLOSSOMS, 2001