The back cover is removable, revealing the microSD card slot, micro-SIM card slot, and... well...
a giant piece of metal.
So how come our feathered friends don't get out of the way when
a giant piece of metal rushes at them?
Not exact matches
► A
giant caged gorilla is placed into a military cargo plane, accompanied by a man and a woman in handcuffs who argue with soldiers and an agent; the gorilla growls, snarls, and roars, showing large sharp teeth until he breaks apart the cage and several soldiers and government agents fire rifles and handguns to no avail as the animal roars and throws
pieces of metal, striking some
of the men, tosses several men against the bulkheads
of the plane, and stands on the chest
of an unconscious agent, who wakes up and shouts; a sliding military vehicle in the cargo hold pins the gorilla to a wall, the man and the woman in handcuffs break free and don parachutes, placing one on the agent and after the plane crashes in smoke and flames we see few bloody footprints
of the gorilla leading away from the crash site (we do not see the bodies
of the other passengers) and the agent has a cut on his forehead and the other man has lots
of blood on the back
of head and his T - shirt while the woman's face is scraped on one cheek and one side
of her forehead.
Bringing together a minimalist structural rigour contrasted with unfolding fields
of energy, Altmejd recognizes the primacy
of the conceptual approach in shaping the cycles that run through his work: heads, constructed, architectural
pieces, werewolves, bird men,
giants, bodybuilders, guides, watchmen... The abrupt changes in scale (from the minuscule to the monumental), profusion
of materials (crystals, mirrors, synthetic hair and fur, resin, wood,
metal) and the various devices he uses to occupy the space (platforms, display cases, oversized cabinets) are all strategies that position the artist as a creator
of all possibilities.
Most artists were given a room or section to themselves for a single large installation or series
of works - Fabro's
giant silk, marble and
metal Pieds (1968 - 71), for example, surrounded by a wall
piece in green thread entitled Penelope (1972), was achingly beautiful.