{"id":1149,"date":"2024-02-21T18:13:45","date_gmt":"2024-02-21T18:13:45","guid":{"rendered":"https:\/\/miranda-maher.com\/?page_id=1149"},"modified":"2026-04-01T23:09:55","modified_gmt":"2026-04-01T23:09:55","slug":"infestations-series","status":"publish","type":"page","link":"https:\/\/miranda-maher.com\/infestations-series\/","title":{"rendered":"Infestations Series"},"content":{"rendered":"\t\t
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We do not speak of infestations of wildflowers or flamingos. The word is reserved for what we have decided is undesirable\u2014vermin, weeds, life that disrupts what we value. \u201cInfestation\u201d is not a neutral condition, but a human judgment: a naming that reveals more about our priorities than about the beings themselves. Outside that frame, these species are simply living\u2014often thriving\u2014indifferent to our preferences.<\/p>

In this series, I bring that tension into view by combining meditative ink line-shapes with edited prints of birds\u2014primarily raptors\u2014drawn from Audubon\u2019s nineteenth-century catalog of American birds. The birds hunt, feed, and contend with one another, perched on or moving through the black ink forms, seemingly unaware of them. The ink shapes, in turn, offer no resistance. Each element occupies the same space without acknowledgment.<\/p>

The question of infestation becomes unstable here. One could read either element as overtaking the other, yet human perception tends to assign that role to the animal\u2014to the animated, consuming body. The work exposes that reflex, asking how quickly we impose hierarchy, threat, and control onto what we see.<\/p>

The ink elements are painted on Arturo paper and cut by hand, leaving a narrow edge of pale blue. The birds are printed on lightweight Red River paper, all mounted on Rives BFK.<\/p>

Full-sheet collages measure 19 \u00d7 22 inches; vertical formats are 13 \u00d7 22 inches. The series is ongoing.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Details from the two Vertical pieces:<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

We do not speak of infestations of wildflowers or flamingos. The word is reserved for what we have decided is undesirable\u2014vermin, weeds, life that disrupts what we value. \u201cInfestation\u201d is not a neutral condition, but a human judgment: a naming that reveals more about our priorities than about the beings themselves. Outside that frame, these species are simply living\u2014often thriving\u2014indifferent to our preferences. In this series, I bring that tension into view by combining meditative ink line-shapes with edited prints of birds\u2014primarily raptors\u2014drawn from Audubon\u2019s nineteenth-century catalog of American birds. The birds hunt, feed, and contend with one another, perched on or moving through the black ink forms, seemingly unaware of them. The ink shapes, in turn, offer no resistance. Each element occupies the same space without acknowledgment. The question of infestation becomes unstable here. One could read either element as overtaking the other, yet human perception tends to assign that role to the animal\u2014to the animated, consuming body. The work exposes that reflex, asking how quickly we impose hierarchy, threat, and control onto what we see. The ink elements are painted on Arturo paper and cut by hand, leaving a narrow edge of pale blue. The birds are printed on lightweight Red River paper, all mounted on Rives BFK. Full-sheet collages measure 19 \u00d7 22 inches; vertical formats are 13 \u00d7 22 inches. The series is ongoing. Details from the two Vertical pieces:<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1149","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1149","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/comments?post=1149"}],"version-history":[{"count":5,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1149\/revisions"}],"predecessor-version":[{"id":1308,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1149\/revisions\/1308"}],"wp:attachment":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/media?parent=1149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}