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‘The Tender Hand of the Unseen,’ an immersive video installation by CU Boulder artist Molly Valentine Dierks, is featured through June on D&F Tower in downtown Denver��

It happens most often in autumn and winter, when large flocks of starlings roost in protected spots like woodlands, marshes and even buildings. Before settling for the night, often in the gloaming twilight, they sometimes paint the sky in formations called murmurations.

Hundreds—sometimes thousands—of starlings dance in undulating, ever-shifting shapes, a spontaneous choreography that fills the sky like the liquid fall of silk.

One day after class while she was earning her MFA at the University of Michigan, Molly Valentine Dierks saw a murmuration of starlings. She pulled out her phone to capture it—footage that wasn’t as good as she’d like it to be but that nevertheless captured a transcendent moment of ephemeral sculpture in the sky.

Molly Valentine Dierks is an assistant teaching professor in the CU Boulder Department of Art and Art History.��

Memories of that murmuration guided her in creating “,” an immersive video installation that is a featured work through June on D&F Tower in downtown Denver, part of the program.

For Dierks, an assistant teaching professor in the �鶹��Ƶ Department of Art and Art History, her work represents a confluence of many influences, musing on the nature of time and referencing periods of growth and rebirth.

As a , “and also a nature geek—I’m really interested in the idea of this physical sculptural performance in the sky,” Dierks explains. “They’re stunning, the patterns are beautiful, the way that they change is really gorgeous, plus there’s something about the idea of moving intuitively as a group that I think as human beings we don’t have or we’re not comfortable with. This society of beings is so in sync with one another that they can move as a fluid unit, and it’s also performance and also art.

“As an artist and educator, particularly in the classroom I really encourage my students to get in touch with their intuition and develop spiritual understanding of who they are. For me, as an artist, there’s something about looking at big flocks of birds that gets me in that state. We’re all so comfortable looking at screens, for example, but as a society we’re not really encouraged to just look at sky. (This piece) is an excuse to encourage people to look at sky, even though it's a screen that is sneakily subverting that tension.”

A 140-foot canvas

Public, site-specific art and installations are defining aspects of Dierks’ practice for their ability to foster healing, stillness and growth, she explains. So, when a friend told her about the Night Lights Denver program, she contacted the curator, David Moke, with her idea for a large-scale installation focused on starling murmurations.

When her proposal was accepted, the work of art began. The murmuration she recorded in Michigan didn’t work—there were a lot of trees in the way—so she worked with footage shot in the Netherlands that would be crisp and clear when projected onto the side of D&F Tower, a 140-foot canvas.

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Molly Valentine Dierks' immersive video installation "The Tender Hand of the Unseen" will show on D&F Tower in downtown Denver through June. (Photos: Molly Valentine Dierks)

She manipulated and sculpted the footage on her computer, then did test projections from the parking garage near the tower that houses the Night Lights Denver projection center.

“I would bring a thumb drive with an hour-and-a-half of tests, and I just sat there and took a bunch of notes to figure out the best settings,” Dierks says. “(The footage) was taken at different times of day and in different weather conditions, so I could start to see that if the background was too dark or too blue or too purple, I couldn’t see the starlings as well as I wanted.

“I played with timing as well, slowing the footage down in spots and thinking about grains of sand or sand in a timer. I was looking for crescendos—not just contrast and brightness, but does it feel like a piece of music?”

The tender hand

The name of the work is a line from the poem “On Pain” by Kahlil Gibran, which also says:

�� ����And could you keep your heart in wonder at the daily miracles of your life your pain would not seem less wondrous than your joy;

�� ����And you would accept the seasons of your heart, even as you have always accepted the seasons that pass over your fields.

“We all go through difficult times: we go through grief, we go through breakups, and I found poetry kind of a resting spot for me,” Dierks explains. “I could read a poem and get outside the nuts and bolts and bureaucracy of everyday life and get to the heart of what I feel, after a while I started naming my pieces after lines in poems that spoke to me about certain stages in my life.”

In describing the work, Dierks wrote, “The work is my way of confronting a socially fractured landscape, where screens more frequently mediate our understanding of self … overshadowing more embodied connections to each other and the natural world.”

The piece is Dierks’ first large-scale projection, and although there’s really nowhere to hide with a 140-foot public canvas, Dierks says she wouldn’t want to. “There’s something really nice when you install in public, outside of the art world, (where) people don’t have to go to a gallery … I prefer it in a lot of ways.

“(D&F Tower) is in this beautiful area on 16th Street and there’s a park so people can walk around and look at it. When I did the first test last August, I could see people stopping and looking at it, looking at these beautiful formations, these birds in flight—just taking that moment to stop and look.”��

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