Sculpture Garden

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Continuing Exhibition

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Fat Lady

Jack Howard-Potter
New York, NY
Steel and powdercoat
$10,000
I try to capture movement in a medium that does not move. Using steel which is an inherently rigid material, I work to convey a sense of fluid action in space. My work explores the wide range of movement of the human figure informed through my study of drawing the human anatomy. My sculptures seek to convey the motion of the body in extremely stressful and beautiful positions; the moment that a dancer is at the peak of a jump, the weightless split second before a body succumbs to gravity. I am describing an ephemeral action in steel to convey this moment for eternity. I want the viewer to visualize the actions that led up to a given pose and the actions that will follow it. Using the brightly colored surfaces separates the figures from the landscape, making them stand out in much the same way people do when they wear clothes. The brilliant colors serve as protection for the steel from the corrosive outdoor environment as well as adding excitement to the steel to aid in the sense of movement. The work explores the range of possibilities and flexibility of the material as well as the subject matter. The display of my work in the outdoor public arena is the perfect place for the inherent academic roots to be brought to every person in an easily recognizable and accessible way, bridging the gap between the intimidating gallery or fine art institution and the general public.

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Ancient One

Juan Carlos Caballero-Perez
Henrietta, NY
Steel
$3,000
This work embraces a dialogue between the past and the present by manifesting the sacred entity and the symbolic representation of the spirit of the object. The sculpture reflects a metaphorical meaning of the emotional power of ancient symbols and archaic elements of human cultures that are long gone, leaving just a trace of myth and their secret past.
This work embodies a sense of ritual and embraces the spirit of reverence through its composition. Created by welding and weathering steel, I attempt to recreate a sense of ancient aesthetic qualities in a new context.

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Forked Oak

Bill Botzow
Bennington, Vermont
Oak, black gum pods, aircraft cable
24' x 2' x 2'
My 'site sculptures' come from the place where they are exhibited. For 'Forked Oak' I walked around the woods adjacent to the sculpture field noticing the abundant natural materials - dead and down oak, greenbriers, black gum pods, etc. I decided to work with the black gum pods and the oak.
'Forked Oak' celebrates the forest. It consists of an oak trunk and garlands spiraling down from its two tops. One spiral is black gum pods. The other spiral is sawn segments of split firewood. The seeds in the black gum pods are eaten by squirrels. We use trees for wood products to create shelter and warmth. Trees are survival for all of us.

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Eos: Goddess of Dawn

Gyuri Hollosy
Titusville, NJ
Bronze
$70,000
EOS is a Greek name for the goddess of dawn and one of the sky deities. She is a standing female nude figure with raised arms clasped behind her head as if it were an early morning stretch. In Greek mythology, she appears in the Theogony of Hesiod as the daughter of two Titans - Hyperion and Theia. Eos is therefore also the sister of Selene (the Moon) and Helios (the Sun). Hesiod recognizes the eternal significance of these gods in his poem: "Theia yielded to Hyperion's love and gave birth to great Helios and bright Selene and Eos, who brings light to all the mortals of this earth and to the immortal gods who rule the wide sky."
In the construction of the piece, I use a similar process to that of making armor. In building the figure I first model the figure in clay with overlaid sections. Each clay slab section is then removed with a plaster shell mold and a wax print is made for the metal casting. After the casting each section is assembled by threaded pins which are rapidly hammered with a ball-peen hammer to expand and blend the pin with the cast metal. Finished, this armored lady stands about 5 foot 7 inches, slender and inviting in her morning radiance.

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Wintering

Arny Nadler
St. Louis, MO
Painted Steel
$30,000
I am fascinated by the ubiquity of the vessel form, from bottles on grocery store shelves to nuclear power plants. "Wintering's" scale places it somewhere between these two extremes. I began by making dozens of simple drawings and paper cutouts to investigate the nature and variety of these forms. I am far less devoted to a particular representation and strive instead to create an elastic tension between the precise nature of these structures and the ambiguity of their explicit function. Made by meticulously cutting, fitting, and welding together over one thousand pieces of steel, these objects have a specificity of construction in the absence of a specific function. Though static, they assert themselves as structures for unknown workings. The title, "Wintering", came two years after the piece's completion. It was a response to the swollen stillness of these forms the implication of a preparation, a dormancy, a long wait.

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Guardian

Katherine Stanek
Thorofare, NJ
Concrete with marble aggregate
$6,500
The subject and content of my work explores the relationship between our architectural environment and the human condition recounting how one reflects the experiences of the other. "Guardian" is part of a current series of works in concrete that define the roles we assume in life. These roles define our existence and purpose for our actions. As our environment changes, our roles must also change but the underlying structure that defines our existence remains simple, strong and constant. Influenced by antiquity and the events that shape the remains of the same and inspired by present day observations of our own environment, my sculpture is a direct response to a specific human experience and physical architectural existence

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Fist: A Self-Portrait

Alexandra Martin
New York, NY
Bonded aluminum
$9,000
2008-2009 Exhibition
"The Fist: A Self Portrait" started as a life-sized work and gradually grew, seemingly of its own accord, into the monumental size it currently enjoys. As it grew "The Fist" changed from a sketch of the naturally occurring spiral of my own hand into a psychological study. While some people see a closed hand as a sign of anger, others see power (or the fear of the lack of power) in a fist. I was not consciously trying to show either anger or power or frustration. Just the beauty of the spiral of a hand. What the viewer sees and senses comes directly from his or her own psyche or consciousness. Yes, it certainly is my self portrait-- just as all art is about the person who creates it. This Fist is also a self portrait of everyone who looks at it--just as all art is really about the viewer .