Honey Die builds soft-sculpture figures that fuse the anatomy of deer with the material language of plants and stones. Working primarily in linen, sawdust, and synthetic winterizer, the artist shapes small bodies — most between six and ten inches tall — that carry antlers rendered in polymer clay and wire, then finished with acrylic paint, varnish, and dry pastel for a weathered, matte surface. The faces are the most striking design choice: eyes, whether glass or hand-sculpted, are the only features left intact, while mouths and noses are omitted entirely, giving each figure a silent, watchful presence rather than an expressive one. Fur and hair are built up from wool, yarn, and felt in overlapping layers, so the surface reads as organic material rather than fabric, and cotton threads are used almost like stitching veins across the seams.
What separates this body of work from conventional soft sculpture is the consistent grafting of botanical and mineral matter directly onto the animal form. Beads of agate, labradorite, jade, and shell stand in for jewelry or growths along the antlers and neckline, while some pieces are staged inside glass cloches with stabilized moss, cork, and artificial succulents, turning the doll into a self-contained terrarium rather than a standalone figure. This pairing of taxidermy-adjacent construction with garden ornament produces something between a nature specimen and a folk charm, closer to an animist talisman than a toy. The mouthless, noseless faces strip away any narrative of speech or scent, pushing the reading toward memory and dormancy — figures that seem paused mid-transformation between animal, plant, and object.
More info: Instagram.
in Bahia.