The galvanized metal poles and their cement bases are covered with a patina that lends them the appearance of ancient artifacts uncovered in the course of an archeological excavation. The ambiguous character of these sculptural objects extends beyond their uncertain age and origins. The heads mounted on poles represent a range of animals – some of which are easily recognizable, while others represent mysterious, hybrid creatures.

Glazberg’s sculptural objects are reminiscent of totems, poles, or scepters created by tribal artists for ritual purposes. Such traditional ceremonial objects, which are decorated with animal heads, are designed to provide their users with a symbol of authority. In this case, however, the objects serve as landmarks of sorts, announcing to the visitors that they are entering an imaginary, magical territory.

Renaissance cabinets of wonder typically included archeological or ethnographic curiosities. In the spirit of this tradition, Glazberg’s contemporary installation alludes to objects collected from geographically or historically distant cultures.

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