Sculpture Garden

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Permanent Collection

Sculpture Image
I Came Here Without a Map

Jean Whitesavage
Bronze, steel, cast iron, polychrome
72" x 72" x 48"
Acquired in 1994
Donated to Rowan College at Burlington County by the artist, this piece is now a part of the College's permanent collection. Through the combination of different metals, as well as found objects, the artists communicates the complexity of meaning informing the work. She weaves "elements of our everyday culture with elements of a more personal world" in order to entice the viewer to join her on her journey.

Three States of Being
Carl Billingsley
2' x 2' x 6' (each)
Acquired in 2000
"Three States of Being" reflects my philosophical interest in the nature of perception and understanding. The sculpture is made so that each element has an unexpected or confusing visual aspect. The sculpture has three states of being just as the viewer does and just as I do. This could be expressed as 'I Was,' 'I Am,' and 'I Will Have Been.' I also enjoy the triad of volume, shape and placement which is evident in the positive and negative aspects of the individual elements as well as in the relationship between the elements. 'Three States of Being' can be understood in a number of ways. I think the sculpture will offer new visual information with each change of light and from every point of view.

Sculpture Image

Shahin Atigeh
Acquired in 2000
My work is monumental in scale. The exuberance of my philosophy could be expressed in no lesser form. It is a philosophy that celebrates the freedom of the human spirit to express its emotions: the love of a man for a woman, their love of God, of His children, His animals and all of His creation.
My work is elegantly simple, yet powerfully spiritual, intending to communicate the essence of prayer: seeking, finding, connecting. I feel the need to share this philosophy with as many people as possible, and thus I prefer to direct my art toward a public environment. I would like my sculptures to invite people to approach, touch and be one with my work, and therefore one with my soul.

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Empty Bowl Light Series

Susan Was Hise
Acquired in 2000
I have been working with the theme of empty bowls and empty souls for sometime. It began when I saw a religious television program. There were missionary workers with starving children holding out empty bowls. These images of pot-bellied, skinny, sick and starving children haunt me. Which do you try to fill first, soul or bowl? Can you even consider anything but hunder when you are starving? Can you ever fill a damaged soul? The questions go on and on but there are no answers.
This series has evolved: it started with emaciated hopeless figures. Of all the pieces in the series, this is the most healthy and hopeful. There is a recessed light in the vessel-bowl which illuminates and models the figure. The light may be considered a metaphor.

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If Docks Could Dream

Robert H. Motes
Acquired in 2000
As a sculptor, I work with materials and imagery which I manipulate to create visual poems.
A poet may create verse to offer the reader an insight into emotions and situations which may go overlooked in the course of an active life. Within my sculptures, I try to avoid an accounting of what is known and focus on the unlikely in an attempt to undermine a predictable categorization of what is seen and experienced.
I may look at the ocean, so vast and universal, and imagine what I would need to steal it away from the ships and the fish. I may give a fish a desire to fly or walk on land, and think, how would that be realized? And what would the subject matter be if an inanimate object such as a dock could dream? What would it dream about?
In dealing with these issues of the absurd, I hope to show that life's possibilities do not have to be defined by what experience has deemed to be likely.

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Nembutsu Love

Barry Parker
Bronze, marble
Acquired in 2001
The sculpture Nembutsu Love was inspired by ancient sculptures I saw on several trips to Japan.
I was most impressed by the ancient stone carvings that, while depicting animals such as the fox or human like form, always allowed the stone to retain much of itself. To me, this direct treatment of the material gave the sculpture a power that seemed inherent to the stone; a power that in many sculptures is often reduced by over-refinement.
The Nembutsu Temple at Adashino is a place in the hills outside of Kyoto where the monks have gathered up all the forgotten and neglected stone grave markers and put them together in a crowded, wall-in area. Here they exist as personages, centuries old, shoulder to shoulder, leaning on each other for support.

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Hanna Jubran
Acquired in 2001
I dream of an art of balance, purity and serenity, devoid of troubling or depressing subject matter-one which can be understood by every mental worker. While the components of each of my sculptures are highly abstract, my symbols are not beyond interpretation. They are to be viewed as a statement of my concern about nature, society and technology. By combining a very refined design attitude of my inquiries of nature and my symbols for the human way of life, I hope to convey my personal philosophy to the viewer.

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Rope Walker

Paul Pugliese
Steel, PVC pipe
Acquired in 2002
The way I feel about Rope Walker is that this type of figure is the essence of a live person. The pieces I do in this style are basically stick figures in real life sizes. They are the most basic design of drawing skills-the ones that children use to start working on the figure and many times they way adults start out doing a serious piece of artwork. This is not to mean that the figure is diluted to a point of weakness; more likely it is the strongest statement that can be made with an economical use of materials and space.
When you look at this piece, just think how difficult it would be for an untrained person to do this trick of walking on a rope. Most of us would soon be on the ground. It is the apparent ease of the deed to the trained athlete which makes it so mind-boggling to the rest of us. And in this train of thought, I want you to view Rope Walker in the same way.

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Worship Gate

Shawn Phillip Morin
Limestone, steel
Acquired in 2002
Although we are not yet like angels, we like angels are spiritual beings created for the purpose of fellowship with our Creator. And just as we cannot save ourselves from our own sinful condition, neither can we enter into the act of worship through the power of our own flesh. It is in fact, God's very own Spirit that both causes and enables us to worship Him. The prophet Isaiah says that 'all our righteous acts are like filthy rags.' (Isa. 64:6 NIV) This truth suggests that in order to worship the one, true God we must enter into something (or someone) more worthy and pure than ourselves. Jesus says it this way, 'Enter through the narrow gate,' and ' one comes to the father except through me.' (Matt. 7:13 & Jn. 14:6 NIV) When we worship the Father through the Son we enter through the only acceptable Worship Gate.

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Drew Goerlitz
Acquired in 2004
Through my sculpture, I explore the synthesis of line, negative shape, mass, and balance. I feel my sculpture contains a level of complexity with its weight versus balance, but at the same time, also remains a simplistic form. This combination evokes a feeling of tension and suggests utility.
My industrial look is related to my appreciation of technical skills needed to engineer machinery. Though my work is not solely based on machinery, I derive my work from stimulating forms within it.

The Seduction of Steppenwolf
Jacquelin Boulanger
Steel, cast iron
Acquired in 2004
In January 1989 I had a dream that a Native Indian man spoke to me. Upon awakening, I wrote the following:
Take this feather from the Northeast
Throw the blue Gulf waters on it
Tip it with Southwest turquoise
Coat it with iridescence from the Plains
See the blue feathers coming from my mouth
What, you can't hear what the blue feathers are saying?
See its significance
Do not fail to touch its fineness
If you don't understand the blue feathers coming from the mouth
How else am I to deliver my message?

Later, in the summer of 1995, I had another dream where I saw images of mounds, receptacles, connectors, and columns. As I awakened I heard nature worshipper. These two dreams have had such a profound effect on my consciousness that, since 1995, I have been manipulating certain materials towards the explorations of such imagery. Coupled with the notion of synchronicity-events, conversations and realizations that collide-my goal is to explicate these personal experiences into an art form that is not only visual but also felt.