QUIVER (2003) consists of two wall installations of delicate cut shapes representing abstractions of cockfighting with the veneer of car surfaces and decoration. Pinned to the wall, the cut forms evoke the delicacy of butterflies, wings, and feathers. The shapes appear to float and hover, casting multiple shadows, while ambient air currents subtly animate the pinned forms.
Wall No. 1 suggests the anticipation of colliding bodies, the rhythms of the fight, and the lyrical brutality in struggle.
Wall No. 2 suggests moments of struggle and release. In both representations, the customized automobile is the fighting cock: objects of utility and fetish that are the foundation for whole communities functioning upon tenuous, competitive, and sometimes, profound relationships between its participants and enthusiasts.