It would seem that eyes can live without hearts (Oracle Fox)

RESEARCH BACKGROUND: Weaver' s work is part of the exhibition, MCA Collection; New Acquisitions in Context 2013 which presented several new acquisitions alongside a selection of significant works from the existing collection. Curator Megan Robson selected Oracle Fox as an example of works that explored the 'landscape' in its various forms, as well dream states, nightmares, and the influence of Surrealism. RESEARCH CONTRIBUTION: Oracle Fox brings to together a radical mix of western and non-western cultures and extends the history of the Surrealist object as a disruptor and erasor of aesthetic hierarchies. Like many Surrealist objects, Oracle Fox incorporated natural objects, animal, vegetable and mineral, found objects and interpreted found objects. Weaver's sculpture also integrates contemporary designer fashion. This represented a groundbreaking aspect of Surrealist objects and artistic output, as evidenced in the work of Meret Oppenheim, and Mimi Parent. Weaver's reinvention of a 'utilitarian' Japanese Hibachi (coal stove) to encompass a ritualistic and symbolic function is a strategy that parallels Victor Brauner's seminal 'Wolf Table', 1947, and the Rosemarie Trockel work 'Untitled' 1991 (a hanging bronze seal with blonde hair neck piece). RESEARCH SIGNIFICANCE: Weaver's work can be seen as an object of symbolic function rather than strictly a sculpture in the classical western perspective. The inclusion of Oracle Fox in the New Acuisitions in Context exhibition marks a distinctly new context for 'Oracle Fox'. The exhibition presented recently acquired pieces in dialogue with artworks from the JW Power and MCA Collections and investigated dream states, nightmares and the influence of Surrealism with works by Nicholas Folland and Peter Booth. Oracle Fox was seen in this exhibition specifically in terms of Surrealism, creating new knowledge and complex psychological readings as a contemporary Surrealist object.

研究背景：Weaver的作品是“MCA收藏：2013年语境中的新藏品展”的一部分，该展览呈现了若干件新入藏作品，同时精选了现有藏品中的重要作品。策展人梅根·罗布森（Megan Robson）选择《神谕狐》（Oracle Fox）作为探索“景观”多元形态、梦境、梦魇及超现实主义影响的作品范例。

研究贡献：《神谕狐》将西方与非西方文化进行激进融合，拓展了超现实主义物件（Surrealist object）作为审美等级的颠覆者与消解者的历史脉络。与诸多超现实主义物件类似，该作品融合了自然物件（动物、植物、矿物）、现成品及诠释性现成品；同时，Weaver的这件雕塑还融入了当代设计师时装元素。这一特质代表了超现实主义物件与艺术创作的开创性维度，梅雷特·奥本海姆（Meret Oppenheim）与咪咪·帕伦特（Mimi Parent）的作品已印证了这一点。Weaver将实用主义的日本火钵（Hibachi，炭炉）重塑为兼具仪式性与象征性的载体，这一策略呼应了维克多·布劳纳（Victor Brauner）1947年的开创性作品《狼桌》（Wolf Table），以及罗丝玛丽·特洛克尔（Rosemarie Trockel）1991年的《无题》（Untitled，一件悬挂式青铜印章配金发颈饰）。

研究意义：从传统西方视角来看，Weaver的作品并非纯粹的雕塑，而是具有象征功能的物件。《神谕狐》入选“语境中的新藏品展”为其赋予了全新的阐释语境。该展览将近期藏品与JW Power收藏及MCA收藏的作品并置对话，并通过尼古拉斯·福兰德（Nicholas Folland）与彼得·布斯（Peter Booth）的作品，探讨梦境、梦魇及超现实主义的影响。在此次展览中，《神谕狐》被置于超现实主义框架下审视，作为当代超现实主义物件，它构建了新的认知维度与复杂的心理解读空间。