While continuing to work in a representational style, in this piece Star carries the concept of artistic selectivity and technique beyond realism. By deciding on a design that uses a fragment to suggest the whole - the very essence of the subject - and then purposely exaggerating the scale of what is sculpted to larger-than-life in size, Star moves into an imagery that extends the imagination, as well as the medium. Retaining just those features, which, characterize red-tail's instinct to protect and defend, and eliminating everything else, Star has fashioned a composition that dramatizes the basic sense of survival that impassions the hawk's nature.
She came up with the idea for this piece while watching a falconer train a red-tail hawk. Although an obvious rapport between the man and the bird has developed over long hours of working together, a reward of a few raw chunks of elk meat was an essential part of the training program. And every time the hawk was fed it would immediately assume the mantling position. Stretching its wings to cover and claim its prey, with a defiant open-beaked cry it would challenge anyone and anything to try and take it away.
The Sculpture takes its title from Proverb 11: "He that troubleth his own house shall inherit the wind. " But where this verse refers to a conflict in the home and warns of the destruction that follows family disruption, Star consciously barrows the language, puts it in the context of nature by joining it with the hawk - a symbol of all that is free - and attempts to make a positive conservation statement: " We must improve the earth for the generations to follow, or we will inherit the wind. "
On the literal level, the hawk can be seen the legitimate heir to the skies. . .
(proceeds benefit The Wildlife Center in Espanola)