Eagles Fly | Sculpture Through Technology
Eagles Fly | Sculpture Through Technology
By Gregory Beylerian
Eagles Fly is the continuation of a journey that began with 99 Horses, a journey into a dimension I can only describe as a place that isn’t spatial but experiential. People often ask what these works mean or how they’re made, but the truth is that the process is less about technique and more about transmission. It’s like returning from an exotic land. You can show photographs, you can share stories, but no one will ever smell the air or feel the terrain the way you did. The best you can do is offer a window, a way for them to sense the echoes of where you’ve been.
This new series lives in that space. The eagles arrive from the same dimension as “99 Horses”, but they carry a different spirit. With Eagles Fly, the materials shift away from the industrial or mechanical references that shaped 99 Horses and move toward an artisanal language. They remind me of what one might encounter in the work of indigenous artisans, Native American beadwork, or the beaded and painted visions of Huichol shamans, in Mexico. These aren’t influences I’m trying to copy; they’re resonances of inter-connection. They come through the same way memories do, unexpectedly, but unmistakably.
And memories are central to this series. My Aunt Aida, a fiber artist whose studio was a universe of cedar wood, beads, gems, textiles, and color, has a strong presence in these works. As a child and later as a collaborator, I spent time in her creative sanctuary, absorbing the atmosphere without realizing its long-term impact. Now, when I worked on these eagles, I feel her spirit moving through the textures and patterns. It’s the way the brain stores experience, as threads waiting to be pulled through when the right signal arrives.
People sometimes want to know the mechanics behind the work: how it’s built, what tools are used, whether AI plays a role. But that’s not the point. I’ve always felt that the medium is secondary to the message. Whether a piece is created with a brush, a camera, a typewriter, code, or a machine, the question remains the same: what is being transmitted? Technology doesn’t replace the artist; it expands what the artist can access. It’s just another vehicle, like a motorcycle or a plane, that allows one to travel farther.
Eagles Fly is about that spirit of exploration. The eagle has a special place in my heart, and has always symbolized freedom, perspective, and the ability to navigate between worlds. And that’s exactly what these works are expressions of: a bridge of the inner dimensions of memory, lineage, and imagination with the outer world where viewers encounter them.
The more I reflect on the process, the more I see how uniquely encoded each of us is. Our DNA, our life experiences, our ancestral stories, they form a signature that has never existed before and will never exist again. When that signature moves through art, something remarkable happens. A bridge is formed between the individual and the collective, between one life and the vast matrix of humanity.
Through the eyes and wings of these eagles, I feel that bridge. I feel my aunt. I feel the world from above and below, the wind, the sun, the open expanse. I feel the reminder that exploration is essential, that life is a dream within a dream, and that art is one of the ways we awaken through.
These eagles come alive through that spirit. They’re carriers of memory, imagination, and the truth expressed from my heart opened. They are transmissions from the dimension I continue to explore, a dimension I can’t fully describe, but one I can share through the work itself.
Reflections On Machine & Matter:
Humanity has always been on a timeless quest to discover the self, to reorient toward the essential truth of what we are. Beyond flesh and bone, beyond thought and form, we are what ancient traditions have called the eternal soul: an emanation of the One Source, manifesting just as stone, tree, insect, bird, animal, sun, moon, and earth manifest. Across history, we have been seekers at the root, and a life lived well is one where spirit and form move together in harmony, free and effortless as an eagle in flight.
As a creator, I have lived within the patterns of judgment and disbelief that shape our world. These patterns act as a veil, obscuring the heart’s ability to feel and the eyes’ ability to see the immense expanse of reality. Through many practices, meditative, shamanic, ancestral lineages passed from East to West, I’ve walked through doorways that keepers of old have opened for generations. Each key reveals another dimension accessible to those willing to look beyond the surface.
What I’ve come to understand, and what I express through my work, is that the mystic spark animating all life is not dependent on the material. We often assume that sacredness is tied to purity, gold more valuable than lead, organic better than synthetic, the natural superior to the manufactured. And while each material holds its own vibration, each its own frequency and signature, the essential source sees no hierarchy. It is we who assign these judgments. But for the one who is free, the medium becomes irrelevant.
When this understanding settles in the heart, creation becomes liberated from preference and prejudice. A drum carved by a master from ancient forests and a drum molded from discarded plastics can both open the same portal. One may carry the memory of ritual sacrifice; the other may come from a factory built on oppression. To the mind bound by limitation, these differences are everything. To the mind awakened, either drum can carry the soul from one world to another. Judgment dissolves, and freedom becomes the true medium.
This is the freedom from which I create. I merge with the artificial and the technological not as a servant, but as a master of material. The tools of the machine age bend toward expression because consciousness guides them. In this union, I am not bound to purity or tradition; I am allied with the entire spectrum, the lowest and highest, the discarded and the divine. Everything becomes an extension of the soul.
From this approach, the eagles rise, even from the underworld, alive with presence. The rhythms pulse with heart, even when born through the circuitry of machines. This is the union of Machine and Matter. This is the recognition of a new evolutionary threshold.
These works stand as witnesses and artifacts of that marriage: man and machine, both mechanical in their structure, yet animated by a single awareness. I am the consciousness flowing through it all.
