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Peregrine Honig

Page 1 | Biography

Little Rita  2004
Little Rita 2004
I came upon twin fawns in the display case of a mom and pop toy and science store in Kansas City, MO. It took me two years of consistently visiting to win the trust of the shop owner and save the money to buy them. The story goes that a taxidermist spotted a dead deer by the side of the road. He went to properly dispose of the body and realized she was pregnant. When he opened her and found nearly full term twin fawns, he removed them and carefully preserved them. Deer rarely have twins and the taxidermist retained the uterine gesture of their bodies. I built them a Plexiglas cube with a light blue base. Their prematurity exaggerates the natural delicacies of what would already be an incredibly sweet thing to behold. The points of their
detail of RAPUNZEL, 2001
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.
Test Bunny  2004
Test Bunny 2004
Mouse Man  2004
Mouse Man 2004
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
In The Mink
Above images,left: MY LOVE IS BLIND (cane), 2002 and detail of LINOLEUM BLOSSOMS, 2001
2139 Summit St
MO 64108
Kansas City, MO
Kansas City, MO
North America


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Peregrine Honig
Fahrenheit Gallery
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