I envisioned Eve’s Daughters taking shape in a crystalline form, using mica sheets as a structural element to create volume. The planes of mica give the effect of seeing multiple planes at once in ever-changing density and translucency when viewed from different perspectives.

Within the piece are small copper silhouettes of female figures that catch the eye when the light and angle of viewing is right. They are dim predictions of potential. There are also three Swarovski sun prisms in the sculpture, positioned in the pelvis, solar plexus, and head. They are only visible with specific light conditions.

The face is a mask of copper. Masks obscure identity, allowing the figure to become an everywoman. They are totemic and theatrical, and bestow on the wearer the possibility of transformation. A masked figure is one that can both commune with spirits. Fashioning the mask from copper binds the ethereal figure to earth as the top of the head dissolves in a flight of butterflies.

The butterfly symbol held multiple meanings in ancient times. It was emblematic of the sacrificial double-bladed axe, but also symbolized the power of transformation. That transformative power was highlighted in modern times by Chaos Theory as stated by Edward Lorenz, that the flap of a butterfly’s wings may be the beginning flutter that initiates a hurricane. Even small events create a ripple effect over time. In this case, the original mother could not have foreseen the multitude of her daughters.