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Her large-scale mixed media portraits depict Chamorro women and nonbinary people-many of whom are, like McDaniel, survivors of sexual violence-in lush environments that pictorially and symbolically speak to the South Pacific islands region. The two birds in Mangahulo'' I famaguon, for example, are Guam kingfishers, a species that is now extinct in the wild due to the brown tree snake, which was brought to the island by the US military. These birds were featured at the request of the portrait''s subject who grew up in Guam and now lives in Los Angeles: McDaniel interviews and photographs her sitters before painting them, cultivating a familial bond (she refers to her sitters as "Mane''lu," a nonbinary term for "sibling," and in this case, the titular famaguon means "children"). McDaniel and her sitters also participate in an exchange of small, meaningful objects that ultimately become part of the composition. This includes, for example, the loose shells and beads embedded in paint worms on the sitter''s face in Mangahulo'' I famaguon. McDaniel states: "The objects I collect are things that have been previously worn on a body ... I ask subjects to donate anything that they are no longer using, whether an earring that lost its pair or an old dress. These objects carry the spirit of the person that wore them which becomes part of the painting." Mangahulo'' I famaguon is additionally accompanied by an audio element, or "audio portrait," that captures the voice of the sitter. This serves as a multi-sensorial supplement to the static painting that offers the sitters the opportunity to narrate their own histories and experiences of trauma and healing. These multimodal elements and collaborative approaches to making and storytelling all serve to make visible the depth and nuance of McDaniel''s "subject-collaborators." In an essay about this portrait series, curator Jasmine Wahi states: "McDaniel takes an active approach in disrupting the white supremacist, capitalist, patriarchal foundations of Western painting by deliberately amplifying people who have existed on the periphery of Western interest. This act is a means of creating visibility for the historically erased and a simultaneous opposition to the continued encroachment of contemporary colonialism throughout the world." 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The ethos of the farm seeks to understand land at a basic ecological level, supporting its natural functions to reduce damage and, in turn, mitigate harm to wildlife and the animals raised for consumption on the farm. Despite these efforts, compromises are ultimately made to maintain commercial viability, and labor becomes a required exchange based on what is valued in an eco-capitalist system. Categories of pet, pest, feral, domestic, wild, predator and prey are made more potent when individual labor value determines survival. Lyons became interested in the intersectionality of these categories with death and the experience of grief, as well as the concealment of these processes in industrialized farming. Allegory of the Raging Sun reflects on Lyons''s impression of a large winter roost of crows-a massing popularly known as a "murder"- in a small town near the farm. For unknown reasons, these gatherings are increasingly occurring in urban areas, where they are perceived as a nuisance by locals and sometimes dispersed (if temporarily) with shotgun blasts, fireworks, and recordings of distressed crows or predator birds. L yons''s depiction looks to the birds'' mythological associations and the ancient practice of augury (or bird divination) to celebrate the crow''s prophetic potential. The practice of augury is long past by most cultural standards, though interpretations of bird behavior continue to serve as compasses or signifiers in our human-world, emphasizing an ever-present connection to the nonhuman realm. Crows have a vibrant symbolic history and are honored for their special intelligence but are today popularly associated with gloominess and death. Harkening back to older narratives, here they deliver a gift of salvation, celebrating in flocks after their council with the Sun. They are transformative messengers, oracles of world-building possibilities, and arbitrators between life and the hereafter. 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