The simple and touching use of wings as a motif makes the work almost abstract in the vast range of contexts deriving from it, from the intimate and localized to the universal, cross-cultural and multi-layered. Three elements are characteristic of this series. Maylor fondly calls the size of these wings “the wearable size”, as if they’re made to fit humans. The second element is the force of life in the wings. Whether they are left aside nailed or hung like meat they look very much alive, ready to fly when the opportunity arises. The third element of the wing is its fragility, whether transparent, solid, or opaque. The very idea of freedom is defined by its limits, like the white defined by the black. The intimate aspect of personal freedom and its boundaries are mostly a matter of personal choice and individual preferences, based on cultural and social environments. The sole wing in the Wing series is also a work about longing---wings are always presented in pairs. The wing in the artworks is missing its partner. However, the wing can also be seen as an image of hope—the wing coming out of the dirt, for example, is alive although it is partly buried. The wing can flap out of the dirt and will keep being alive, a hope that is vital to surviving a critical situation.
Wing 2, wing series, 2010 Cast glass, soil and wood, 120 x 50 x 15 cm
Wings 1 (Nailed Wings), wing series, 2006, Wood, glass, steel, 180 x 45 cm
Wings 5, wing series, 2010 Cast glass, lead work, 200 x 80 x 25 cm
Wing, wing series, 2010 Cast glass and steel, 60 x 100 cm
Wing 6, 2019, Cast glass, wood, 100 x 75 x 35 cm