As a result of the Fugitive Slave Act, adopted in September of 1850, slaves who managed to free themselves and flee the South to the North were to be considered as have "illegal" status. Further, any who protected, harbored, or did not turn a suspected fugitive in to authorities could themselves be found guilty of possessing "contraband," or stolen property. 

Executed in solid bronze, Gerding asks us to interact personally with injustice by placing the fugitive between two opposing forces. The wolf is embodiment all those who, for any reason, would return the fugitive to his chains. But there is another "invisble object." And it is an object of his supplication. This is what has the fugitive's attention. He does not look to the wolf. In a manner similar to Wedgewood's iconic image of 1787, he instead looks higher, to prayer, to God, and by extension, to God's people for mercy and rescue.

The sculpture is invitation to chose who we will be, what we will do. When others are deemed untouchable, structurally rejected, but remain human and experience profound suffering, what will our response be? There are only two categories. Those who allow, ignore, and empower oppression. Wolves. And those who participate in and who form a material part of the invisible substance of faith and hope the fugitive looks to for safety and refuge. To the oppressed, there is no middle ground. 

The work was available in a two figure format as well, with additional wolves. The last record we show of that selling was for $14,000.00.