CYNTHIA MINET

Medium: recycled plastics, wire, LEDs, rechargeable battery
Size: 6.5 x 22.5 x 15 inches
Year: 2023

Currently on view June 5-July 18, 2024, in:

Mother Earth (curated by Virginia Shore and Sarah Tanguy)
Meridian Center for Cultural Diplomacy
Washington, DC

This sculpture, based on my own German Shepherd, is made from repurposed laundry detergent, shampoo bottles, and contact lens cases. The nose piece is PET plastic, hence the title.

As plastics build up in our rivers, oceans and landfills, they are also seeping into our very bodies. We are all becoming part plastic, even our pets.

New Small Sculpture of a Dog

Small sculpture of a dog, based on my German Shepherd mix, Sparky.

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo
Seconds to Last is a new solo installation by Cynthia Minet. Minet is known for her life-scale illuminated sculptures of animals. Made from recycled plastics and lit by LEDs, her works draw attention to our human dependencies on fossil fuels and electricity, as well as the resulting environmental degradation facing our planet.

The artist's first inflatable sculpture, Seconds to Last, depicts the nearly extinct Northern White Rhinoceros: there are only two surviving members of the subspecies on Earth.

In a nod to her most recent work, which focused on both human and animal migration, Minet utilizes repurposed camping tents sourced from her neighbors' visits to the Burning Man festivals. As our cities fill with people living in tents, the result, in part, of our profit-based economy, so too does the rhinoceros face extinction, due to poaching and loss of its habitat.

The sculpture is lit by LEDs whose colors reference the seven energy chakras. Presented in a darkened room at the museum, the project's sequenced lighting slowly extinguishes before the viewer, until its presence will be only sensed in darkness.

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Inflatable sculpture made from repurposed camping tents, fan, sequenced LEDs, tie ropes, sand bags
67 x 120 x 64 inches
2021
image credit: Brittany Bravo

Recycled plastic, wood, aluminum, steel, motor, LED lights, fasteners
Size= 156 l x 43 w x 54 h (without beam extended).
With beam extended, height is 84" inches
2019

Informed by a long-standing interest in ecological issues, Cynthia Minet’s animal sculptures— featuring her signature use of found plastic materials and LED lights—address the complicated roles of plastic, consumer culture, and electricity in modern life. Minet’s Jacked: Panthera Atrox is one-part animal and one-part machine combining the form of the panthera leo atrox—an extinct North American lion whose remains have been excavated from the La Brea Tar Pits—with the mechanisms of a modern-day oil pump jack. By using post-consumer plastics to construct the hybrid form, Minet draws attention to both the past and the present of petroleum, simultaneously referencing the ancient animal remains that have been preserved in the Miracle Mile area’s tar pits and highlighting the damage that consumption of petroleum products has had upon the environment and animal species. In doing so, she illustrates the entire cycle of petroleum, from its discovery in its rawest form as tar to its processed state as everyday plastic.

To create her work, Minet collected plastic bottles, toys, and other products from the trash or second-hand stores. She meticulously cuts the plastic components into shapes that are joined together over an armature to create the final form. Minet worked with two collaborators to realize her project, Mike Roof on the mechanical aspects of her piece and Vaughn Hannon on lighting design.

written by curator: Holly Jerger

Jacked:Panthera Atrox, (detail), 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs. (detail)

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

Jacked:Panthera Atrox, 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs. (detail)

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

Jacked:Panthera Atrox, 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs. (view at night from Wilshire Blvd.)

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

Jacked: Panthera Atrox, at the Craft Contemporary Museum, part of the solo show Cynthia Minet:Jacked.
Mechanicanizedl/kinetic sculpture, post-consumer plastics, wood, aluminum, steel, motor, LEDs.
Dimensions: 156 x 43 x 54 inches (without beam extended). With beam extended, height is 84 inches.

Cynthia Minet: Jacked

Informed by a long-standing interest in ecological issues, Cynthia Minet’s animal sculptures— featuring her signature use of found plastic materials and LED lights—address the complicated roles of plastic, consumer culture, and electricity in modern life. Minet’s Jacked: Panthera Atrox is one-part animal and one-part machine combining the form of the panthera leo atrox—an extinct North American lion whose remains have been excavated from the La Brea Tar Pits—with the mechanisms of a modern-day oil pump jack. By using post-consumer plastics to construct the hybrid form, Minet draws attention to both the past and the present of petroleum, simultaneously referencing the ancient animal remains that have been preserved in the Miracle Mile area’s tar pits and highlighting the damage that consumption of petroleum products has had upon the environment and animal species. In doing so, she illustrates the entire cycle of petroleum, from its discovery in its rawest form as tar to its processed state as everyday plastic.

To create her work, Minet collected plastic bottles, toys, and other products from the trash or second-hand stores. She meticulously cuts the plastic components into shapes that are joined together over an armature to create the final form. Minet worked with two collaborators to realize her project, Mike Roof on the mechanical aspects of her piece and Vaughn Hannon on lighting design.

written by curator: Holly Jerger

This is a mechanized model made for the larger Panthera Atrox sculpture.
Recycled plastics, wood, aluminum, steel, motor
35 x 27.5 x 14.5 inches
2019
Private Collection

This is a mechanized model made for the larger Panthera Atrox sculpture.
Recycled plastics, wood, aluminum, steel, motor
35 x 27.5 x 14.5 inches
2019
Private Collection

Disappearing: Babyrousa, 2019
3D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projector
Dimensions: 9.5 x 4 x 6 inches (skull), light table is 29 x 20 inches in museum niche.

One of three 3D printed skulls in the niches of the Craft Contemporary Museum, in Cynthia Minet: Jacked, at the Craft Contemporary, Los Angeles. The projected and animated text is from Charles Harper Webb’s poem, “The Animals are Leaving”. The skull is 3D printed from 3D scans sourced from the Smithsonian Institution’s 3D Human Origins Project.

Disappearing: Babyrousa, 20193D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projectorDimensions: 9.5 x 4 x 6 inches (skull), light table is 29 x 20 inches in museum niche.

One of three 3D printed skulls in the niches of the Craft Contemporary Museum, in Cynthia Minet: Jacked, at the Craft Contemporary, Los Angeles. The projected and animated text is from Charles Harper Webb’s poem, “The Animals are Leaving”. The skull is 3D printed from 3D scans sourced from the Smithsonian Institution’s 3D Human Origins Project.

3D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projector

Dimensions: 3.5” x 4” x 6” (skull). Lightbox is 16.5 x 23.5 inches in the museum niche)

One of three 3D printed skulls in the niches of the Craft Contemporary Museum, in Cynthia Minet: Jacked, at the Craft Contemporary, Los Angeles. The projected and animated text is from Charles Harper Webb’s poem, “The Animals are Leaving”. The skull is printed from 3D scans sourced from the Smithsonian Institution’s 3D Human Origins Project.

Disappearing: Stork, 2019
3D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projector
Dimensions: 11 lx 3.5 x 3 inches (skull), light table is 19 x 22 inches (in the museum niche).

One of three 3D printed skulls in the niches of the Craft Contemporary Museum, in Cynthia Minet: Jacked, at the Craft Contemporary, Los Angeles. The projected and animated text is from Charles Harper Webb’s poem, “The Animals are Leaving”. The skull is 3D printed from 3D scans sourced from the Smithsonian Institution’s 3D Human Origins Project.

Disappearing Series, 2019
3D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projectors.
Dimensions:
gorilla: 3.5” x 4” x 6” (skull), Lightbox is 16.5 x 23.5 inches
stork: 11 lx 3.5 x 3 inches (skull), light table is 19 x 22 inches
babyrousa: 9.5 x 4 x 6 inches (skull), light table is 29 x 20 inches

In addition to Jacked: Panthera Atrox, Minet also presents several smaller works in her Disappearing series, which point out the ways in which environmental damage also affects animal populations. Each one of these works is composed of a 3D printed animal skull resting atop a surface with projected fragments of the poem “The Animals are Leaving,” written by Charles Harper Webb. The 3D files of the skulls are sourced from the archives of the Smithsonian Institution, which has documented species undergoing various states of extinction. Charles Harper Webb’s poem is printed in full below:

One by one, like guests at a late party
They shake our hands and step into the dark:
Arabian ostrich; Long-eared kit fox; Mysterious starling.

One by one, like sheep counted to close our eyes,
They leap the fence and disappear into the woods:
Atlas bear; Passenger pigeon; North Island laughing owl;
Great auk; Dodo; Eastern wapiti; Badlands bighorn sheep.

One by one, like grade school friends,
They move away and fade out of memory:
Portuguese ibex; Blue buck; Auroch; Oregon bison;
Spanish imperial eagle; Japanese wolf; Hawksbill
Sea turtle; Cape lion; Heath hen; Raiatea thrush.

One by one, like children at a fire drill, they march outside,
And keep marching, though teachers cry, “Come back!”
Waved albatross; White-bearded spider monkey;
Pygmy chimpanzee; Australian night parrot;
Turquoise parakeet; Indian cheetah; Korean tiger;
Eastern harbor seal; Ceylon elephant; Great Indian rhinoceros.

One by one, like actors in a play that ran for years
And wowed the world, they link their hands and bow
Before the curtain falls.

Thanks to: Dr. Matt Tocheri, Dr. Kristofer Helgen, and the Smithsonian's Division of Mammals and Human Origins Program for the scans of USNM specimens used in this research (http://humanorigins.si.edu/evidence/3d-collection/primate). These scans were acquired through the generous support of the Smithsonian 2.0 Fund and the Smithsonian's Collections Care and Preservation Fund.

Poem copyright 2006 by Charles Harper Webb. Reprinted from Amplified Dog, by Charles Harper Webb, published by Red Hen Press, 2006, by permission of the author and publisher.

Jacked:Panthera Atrox, 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs. (at night)

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

Jacked:Panthera Atrox, 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs. (detail)

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

Jacked:Panthera Atrox, 2019. Mechanical/kinetic sculpture, made from post-consumer plastics, wood, aluminum, steel, motor, LEDs.

156 l x 43 w x 54 h inches (without beam extended). With beam extended, height is 84" inches

3D printed PLA plastic, LEDs, acrylic, animated and projected text, mini projectorDimensions: 9.5 x 4 x 6 inches (skull), light table is 29 x 20 inches in museum niche.2019

 Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.
Each bird approx. 70 x 60 x 38 inches 

Spoonbill 6, , 2018.  Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.  c. 70 x 60 x 38 inches 

Spoonbill #4, in progress, 2017.  Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.  c. 70 x 60 x 38 inches 

Spoonbill #2, in progress, 2017.  Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.  70 x 60 x 38 inches 

Spoonbill #3, in progress, 2017.  Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.  70 x 60 x 38 inches 

Spoonbill #5, (detail), 2017
Post- consumer plastic, PVC, wood, fasteners,  programmable LEDs, motion sensor, speaker, found objects from Rio Grande borderlands, rope, cable.  c. 70 x 60 x 38 inches

Short Video on Migration: An installation by Cynthia Minet (in progress)

Spoonbill 2, 2016. 37.5”h x 30.5 w inches. Watercolor, graphite, 
pastel pencil on Stonehenge paper.

I have been invited to mount a solo installation at the International Museum of Art and Science in McAllen, TX,  in November 2017.  There are several aspects about the museum’s location that excite me. McAllen borders Mexico on the Rio Grande. It also lies on the Avian Central Flyway Corridor. Both of these factors inspire me to create an installation that features 7 life-size sculptures of roseate spoonbills, and that considers both avian and human migration through the use of found materials and interactivity.

Spoonbill Skeleton, 2016. 44 h x 30 w inches. Gouache, graphite on Stonehenge paper.

Migrations study 1, 2016. 42 h x 114 w inches. Watercolor, charcoal, pastel pencils on Rives BFK paper.

Spoonbill 3,  2016. 30 h x 37.5 w inches. Watercolor, gouache, pastel pencil and graphite on Stonehenge paper.

Installation View at The Animal Museum, Los Angeles, CA. Foreground: Unsustainable Creatures: Elephant (detail)
Post-consumer plastics, PVC, LEDs, hardware. 80 x 115 x 52 inches. 2013. photo credit: Lawrence Pierce

Unsustainable Creatures: Elephant. Post-consumer plastics, PVC, LEDs, hardware. 80 x 115 x 52 inches. 2013. photo credit: Lawrence Pierce

Unsustainable Creatures: Elephant
Post-consumer plastics, PVC, LEDs, hardware. 80 x 115 x 52 inches. 2013. photo credit: Lawrence Pierce

Predator: Falcon, 25 x 32 x 6 inches, Post-consumer plastics,  LEDs, hardware, fasteners. 2014. Drawings: (On left) Study for Sky Dance II, 22 x 30 inches, mixed media on rag paper, 2014. (On right) Study for Falcon II, 30 x 44 inches, charcoal and conte on rag paper, 2014. photo credit: Lawrence Pierce

Predator: Falcon, 25 x 32 x 6 inches, Post-consumer plastics,  LEDs, hardware, fasteners. 2014. photo credit: Lawrence Pierce

Pack Dogs, installation at the Anchorage Museum, AK. Part of the Gyre:The Plastic Ocean traveling exhibition.
Post-consumer plastics, LEDs, PVC, fasteners, portland cement. Dimensions of real husky dogs, installation variable dimensions. 2014. 

Stan (detail)

Pack Dogs, in progress in Minet's studio, 2014

Molly

Pack Dogs, (George), installation at the Anchorage Museum, AK. Part of Gyre: The Plastic Ocean. (travels to Atlanta, GA and Los Angeles, CA)

Sunny, at the USC Fisher Museum of Art

Pack Dogs, (Jenny) in progress. Photo credit: Martin Cox

Pack Dogs, (Stan), installation at the Anchorage Museum, AK. Part of Gyre: The Plastic Ocean. (travels to Atlanta, GA and Los Angeles, CA)

Pack Dogs, installation at the Anchorage Museum, AK. Part of Gyre: The Plastic Ocean. Curated by Julie Decker, (travels to Atlanta, GA and Los Angeles, CA) 

Pack Dogs, installation at the Anchorage Museum, AK. Part of Gyre: The Plastic Ocean. (travels to Atlanta, GA and Los Angeles, CA)

Pack Dogs, installation at the Anchorage Museum, AK. Part of Gyre: The Plastic Ocean. (travels to Atlanta, GA and Los Angeles, CA)

Molly (in progress)

8h x 17w x 20d inches
wood, plastic, metal, paper, mounted on existing methane vent
2020
(work destroyed over the course of two weeks)

My work is often site-specific, made in response to the exhibition venue, and I usually work with recycled materials and light to draw attention to environmental issues. This disused methane vent, on North Broadway outside of Chinatown, inspired me to make a piece that plays with scale. It points to life in a petrochemical-dependent world, where the divide between the "haves and haves-not" grows ever wider.

Located on a main thoroughfare, the work was slowly vandalized. I replaced the stolen miniature hand-made figures, and repaired other broken parts several times, until the piece was ultimately destroyed beyond repair.

Upper Cut was part of artist collective Durden and Ray’s “We Are Here / Here We Are”, a Los Angeles County-wide exhibition of nearly 100 artists that explored our innate desire for connectivity through sensation. Due to the constraints of the COVID-19 lockdown, the artists in this exhibition chose public spaces to display their work — from Santa Monica to the East Side and from the San Fernando Valley to Long Beach. The location of each piece was posted on a Google Map that allowed the exhibition to be explored virtually or in real life.

We are here.

http://www.durdenandray.com/the-exhibition-project

Predator: Falcon, 2014
post-consumer plastic, LEDs, fasteners
25 x 32 x 6 inches

Predator is a series of sculptures and drawings focused on raptors. These birds of prey are used in commercial bird abatement programs, and are thus domesticated like farm animals. Predator contrasts tame vs. wild, the role of humans as predators, and the falcon and hawk as ancient symbols of strength and renewal.

The Predator series was shown in a solo exhibition at the USC Fisher Museum in 2015.

Predator: Falcon is in a private collection, 2017

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches
Shown here at the South Bay Contemporary, San Pedro, 2016

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches
Shown here at the South Bay Contemporary, San Pedro, 2016

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches
Shown here at the South Bay Contemporary, San Pedro, 2016

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches (detail)
Shown here at the USC Fisher Museum, Los Angeles. 2015

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches
Shown here at the South Bay Contemporary, San Pedro, 2016 (detail)

Predator: Sky Dance, 2015
Post-consumer plastic, LEDs, fasteners, Instamorph, cable
72 x 48 x 50 inches
on steel stand, unlit

Predator: Falcon, 2014
post-consumer plastic, LEDs, fasteners
25 x 32 x 6 inches

Private Collection, 2017

Predator: Falcon, 2014
post-consumer plastic, LEDs, fasteners
25 x 32 x 6 inches

Private Collection, 2017

model for Predator: Sky Dance, 2015
wire mesh, aluminum wire, duct tape, sculpey
6 x 4 x 4 inches

Predator:Sky Dance was selected for the Beijing Biennale in 2015. The model was made to sort out the composition for the project. Ultimately, the final sculpture was only shown at the USC Fisher Museum in the Beast of Burden solo exhibition.

In conjunction with the Gyre:The Plastic Ocean exhibit, this solo show at the Fisher Museum of Art included new drawings and sculptures on the themes of domestication and the contrast between wild and tamed.  October 2015

Unsustainable Creature: Camel, post-consumer plastic, PVC, LEDs,  75 x 115 x 24 inches. 2010. 

Caravan @ Muzeo features sculptures from the Unsustainable Creatures series, an ongoing project since 2009. Here installed as part of Transcending Trash, the Art of Upcycling. Curated by Matthew Leslie. Muzeo, Anaheim, CA. April 26-Aug 31, 2014. All photos credit: Martin Cox

Unsustainable Creature: Horse, post-consumer plastic, PVC, LEDs. 50 x 87 x 42 inches. 2010-2014.

Unsustainable Creature: Vulture. post-consumer plastic, LEDs. 18 x 21 x 16 inches. 2009 

Elephant,  post-consumer plastic, PVC, LEDs,  80 x 115 x 52 inches, 2013. 

Unsustainable Creature: Ox 1,  post-consumer plastic, PVC, LEDs. 50 x 108 x 30 inches, 2011. 

Unsustainable Creature: Horse, (detail) post-consumer plastic, PVC, LEDs. 50 x 87 x 42 inches. 2010-2014

packing (caravan)  Customs Hallway of the Tom Bradley Intl. Terminal at Los Angeles International Airport. Commissioned by the Los Angeles World Airports Art Program and the Los Angeles Department of Cultural Affairs. April-October 2013. Photo credit: PanicStudios/LA

Ox I at The Muzeo, Anaheim, 2015

Ox Pull, Huntington Beach Art Center, CA. July-September 2012. Part of Escape from the Landfill, 3 person show with Joyce Dallal and Olgah Lah, Curated by Darlene D'Angelo. Photo credits: Martin Cox

Ox Pull, Huntington Beach Art Center, CA. July-September 2012. Part of Escape from the Landfill, 3 person show with Joyce Dallal and Olgah Lah, Curated by Darlene D'Angelo. Photo credits: Martin Cox

Ox Pull along the River, 2016
Commissioned by the Elysian Valley Arts Collective for the CURRENT:LA/Frogtown Artwalk

Ox Pull Revisited, 2015. Solo Installation at the Valley Performing Arts Center Gallery, California State University, Northridge

ox pull study, pastel and charcoal on paper, 48 x 72 inches, 2012

Ox Pull, Huntington Beach Art Center, CA. July-September 2012. Part of Escape from the Landfill, 3 person show with Joyce Dallal and Olgah Lah, Curated by Darlene D'Angelo. Photo credits: Martin Cox

18 x 18 x 18 inches.
Post-consumer plastics, LEDS, PVC, toys.
Made as a commission for artist Joyce Dallal to draw a visual and conceptual parallel between her Another Toy Story project, and the Disappearing Frogs Project.
Exhibited in North Carolina in April 2016, it is now in the private collection of the Disappearing Frogs Project coordinators. 

Unsustainable Creatures, solo installation at PØST, Los Angeles. August 2009.

Unsustainable Creatures is an ongoing project begun in 2009 in response to an invitation to make work for a night club in Padova, Italy. The location was flanked by a recycling facility, and it was a logical starting point for sourced materials that could be illuminated by optical fibers and LEDS. The first piece was this pig, and the single works have developed into multiple groupings and re-configurations of life-size domesticated animals.

Unsustainable Creatures: Pig. 2009. Post consumer plastics. 17 x 28 x 12 inches. Photo credit: Martin Cox

Unsustainable Creatures II, solo installation at The Wedge, Woodbury University, April 2010

Unsustainable Creatures: Emu. 2009. Post-consumer plastic, LEDs. 24 x 16 x 18 inches. Photo credit: Martin Cox

Unsustainable Creature: Bull (Ferdinand). 2009. Post-consumer plastic, LEDs, optical fiber. 22 x 43 x 26 inches. Photo credit: Martin Cox