In 'Baby' Wielebinski draws from the monstrous and the genre of body horror. The works are reminiscent of medieval gargoyles, which were used to illustrate evil or frighten away evil spirts. In the glass work, the viewer is reflected, seeing themselves within the piece. The cement piece is reminiscent of popular myths of magically turning people to stone. Complicating traditional narratives, Wielebinski speaks to our obsession with dominating nature, the mundanity and everyday cruelty of American life, and the impulse to repeat the same histories over again.

‘Ultimately, this work is about reckoning with our relationships to the earth and the world around us, to our own mythologies and histories we’ve been taught and perpetuate either through belief or ignorance, the iconographies, statues, and heroes we hold up, the systems we don’t question and have been told are inevitable, and the need to broaden our scope of vision and see beyond ourselves in order to recognize the potential and necessity of working collectively and to greater goods rather than only look out for ourselves, or we are doomed to continue to repeat our same mistakes ad infinitum.’ (Wielebinski, 2021)