The Wires We Have Crossed

Produced in April 2023, The Wires We Have Crossed presents the following scene. A Black boy in a wide hat holds a long rifle-bow hybrid beside a blond child in green armor. Sheep and a farmhouse fill the scene. The bow supplies the composition’s principal arc, while the arrow, pointing hand, or weapon-like extension creates a competing directional line across the otherwise stable pasture. The implement introduces a note of vigilance into a setting more commonly associated with nurture, making protection, instruction, and latent threat occupy the same visual register. Helmet and armor turn the body into an interface: identity is partly protected, partly concealed, and partly rewritten through reflective plates, dark screens, and segmented surfaces. Against that engineered shell, the animals contribute irregular fleece, weight, and warmth. Their tactile bodies keep the technological fantasy tied to husbandry and dependence rather than frictionless abstraction. The title, The Wires We Have Crossed, therefore works best as a curatorial proposition rather than a checklist of depicted objects. It asks the viewer to connect a specific generated scene to a larger idea that the image may suggest through color, posture, juxtaposition, or sequence without literally illustrating every word. The image should also be read as an April 2023 artifact rather than repaired in prose into something more coherent than it is. At close range, boundaries between hand, tool, string, weapon, and animal sometimes soften or fuse, so the most accurate reading preserves ambiguity instead of assigning false precision. Even the livestock resist strict taxonomy, shifting among sheep, alpaca, calf, buffalo, and invented woolly companion according to texture more readily than anatomy.