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Slowly unfolding and disappearing again, the work’s circle of feathers appears to perform a mystical ritual of splendor and evanescence, thus enacting life itself, it seems. The fact that the crane feathers are mounted on aluminum rods and are moved by precise mechanical action does not detract from the work’s poetic effect. Such a confluence is indeed characteristic of Horn’s kinetic sculptures. Early in her career, Horn used her own body to explore her interest in moving bodies. In the late 1970s, kinetic sculptures became a key component of her creative work. In the tension-filled encounter between machine and mystery, they symbolize transformation as a process inherent in all life forms.