The third edition of Mohr’s Acacia Seed Pod sculpture series now stands as a monument honoring the Indigenous peoples of South Africa 󰑠. This freestanding, bipedal sculpture features two conjoined Acacia seed pods, meeting at the top where their stems twist into a double helix and unravel into a ladder, a convergence of symbols central to my work for years.
The double helix, ladder, and Acacia tree motifs merge here to reflect growth, ancestry, and interconnectedness. 

Constructed with a ladder as its internal armature, the form is shaped with heavy cotton twill, hardened with Powertex, a weatherproof fabric hardener I’ve used since 2017. Once set, the surface becomes non-porous and mimics the texture of a seed pod. The sculpture is finished with enamel gloss car paint and sealed for durability, allowing it to shimmer in sunlight while withstanding the elements. The final effect is similar to Mohr’s previous works QuadroPod: Seeds of Kenya (Wave Hill, NY) and Ladder of Acacia (Tafaria Castle Arboretum, Kenya). Sculpted “seeds,” each engraved with the name of a South African indigenous tribe, are embedded throughout the piece.

These cards were sourced from my art residency at John Bauer Art Residency @jahearnart in a South Africa and planted at Orchard Alley Community Garden in the LES of Manhattan. “Acacia Bipod” is a Lawrence Knight Garden Project presented by the New York Artists Equity Association with support from the New York State Council on the Arts, the New York City Department of Cultural Affairs, Harlem Art Fund, and the New York City Parks Department