The next pair in the series is titled Singing and Listening. It depicts the courtship of a young couple. This is a piece that has evolved a great deal in my thinking toward it. initially it was the beginning of a deep relationship that I was most interested, but I have been very curious about the role of singing in a world with no ears.
There are two ways that the story typically develops, first as a lead element in the making of a piece. I get an idea and build it, very straight forward. The second way is more interesting in that it leads more places. When sculpting I am focused on form and material primarily and forget the narrative that drives the piece. I did not intend to have a singing monster, but following the lead of the clay, found one anyway. The second piece was made in reaction to him, as a means of explaining him. It was during the build that I decided to have the horns be hearing organs.
This has worked deeply into the culture of the monster world. The singer holds an important place in the community. Lacking hands, writing or written language has never developed. All knowledge traditions are oral, the singer is the keeper of culture and history for his group. A young singer begins to train in memorization at an early age and typically recite the stories daily so that no fragment is lost. Despite this care change does occur over time. One of the many ways I am planning to record the stories of the monsters is in the songs. Presenting them like gospels of the bible would account for the difference in stories throughout time. It is in this way that I plan to tell the story of how we lost our hands and became monsters thousands of years ago.
The bird on the purple monsters head is another inconsistency that I have yet to understand. These early pieces were made before I had considered how large the world would grow. I may find a way to account for the bird being as unchanged as it is but in the end the piece may need to be remade.