Through the portal he descends, cast by spells written on the forsaken hearts of Druid lineage—the Bandorai's call.

They may never have heard of him, but they have felt him--the Winged Protector of the Sacred Feminine; wild, wise, and free.

With outstretched wings, he guides by nature's lights--Through many storms, and by cloak of starry nights.

Be warned, predators of those in his care, for you are prey by Divine Judgement--with one eye on humanity, and the other on the void where his power resides, nothing goes unseen.

For he is the Guardian of the Celtic Witches, and he is here to stay.

-Auriel

This piece was created as a birthday gift for my roommate, tailored to her symbolic colors and preferences. She has a fondness for large black birds, greens, purples, pagan symbolism, and her Irish heritage. We often share similar interests, so crafting a piece with these elements was well within my comfort zone. While I can adapt gifts to different tastes or themes when needed, it’s easier to incorporate my creativity when we align on multiple levels. 

This project was an excellent opportunity to experiment with the construction process, particularly with outstretched wings designed to support fairy lights. It’s crucial that my art not only be visually meaningful but also durable enough to last for years—of course, with proper care, not being thrown against walls. 

I began by sculpting the mythical hybrid bird creature, attaching a large double-edged screw at the base of its head, angled so that when hung, it would look down on the viewer. Once fixed to the base, I built up its neck and wings, starting with armature wire where necessary, then adding foil to shape the form before layering Super Sculpey and heating it until it was ready for black paint, leaving some parts of the face unpainted. 

The wings posed the most significant challenge, as the armature wire needed to be thick and securely anchored through the wood base with screws and strong glue to support the weight of the feathers and nesting cage. The cage also had to be stable but lightweight, so thinner armature wire was wrapped and assembled at key joints using floral wire. I hid the battery casing under glued-on fake leaves and foliage, allowing easy access to turn the lights on and off and replace the batteries. To ensure stability, I hung the piece to test that it could hold upright against gravity, not just lie flat on a surface. The back was felted, and picture wire was attached with small eye screws. 

The bird's face and feathers were then painted with acrylics, and some areas were finished with a layered blend of polyurethane and epoxy. It took some time to get the balance right because two different "faces" needed to be blended seamlessly, as if they were in mid-transition from bird to human. It needed to look natural but also distinct. I finally chose a creamier, off-white skin tone over flesh-colored, which helped unify the piece and also made the witch's head appear more human by contrast. This way, each could stand out on its own but still belong together. 

Her head was sculpted and painted separately, then anchored into place. For most of my creature and human sculptures, I use beads for the eyes with the holes facing outward, so when shadows fall across them, they resemble pupils. Since they are naturally hardened and resist heat well, they are structurally sound for small "worms" of clay to be sculpted around them as lids without collapsing under the pressure of my sculpting tools or hands.

I mention this process to highlight not only the practical application but also the extra care I take with the eyes, which carry emotional depth and intent in a piece—more than other features like hands, they are expressive and tell a story on their own. Take the time to learn how to do them "right" for you as an artist, and as a viewer, recognize the effort involved in creating two identical elements by hand with accuracy. Notice how they convey emotion. It requires heart and skill, but it’s absolutely worth it. It took years of making awkward "Hamburger Helper" hands and "culty eyes" before I reached my current level—and I am grateful for those phases of trial and error and countless tutorials. That’s part of why handmade work costs what it does, and rightly so. Raincheck on that topic for now, eh?

Back to this lovely piece. I wanted a Celtic-knot silver charm to serve as the portal's centerpiece, so I used a silicone mold, performed a protection ritual, and set sage with nest foliage, a touch of gold glitter, and obsidian shards into the resin. Once it hardened, I glued and sculpted a mount above the creature. 

After finishing the piece and the characters, the fun part began: feathers and accessories! I glued (using black hot glue) and hand-sewed real black ostrich feathers onto the upper layers of the wings, which was a plier-assisted job even with upholstery needles. Then, I added regular crafting feathers (green and black) to the ends for length, and hung charms below, along with labradorite gemstones and metal beads. This small detail adds a ritual touch and draws the eye downward, like the pendulum of a grandfather clock.

All that was left was to sign it and hand it over. It has since hung on her master bedroom wall as a symbol of protection and sacred lineage. With her permission, it was exhibited at the Hive Gallery in November 2025.