2006 North Charleston Outdoor Sculpture Competition & Exhibition - Artists' Comments
James Burne of
Santa Fe, New Mexico, contributed "Curly", made of Corten
Steel and Maple Log, says:
"Growing up in an old barn in Massachusetts, I spent my youth
playing in, on, and around the barn constantly. The horses, sheep,
cats and dogs were all as much my family as my sister. By rearranging
the steel, trees and rocks which lay around my house, I found
I could make pieces which, when at a distance, appeared as life
like and dynamic as my small friends, but when approached they
reveal an abstraction of space and form. A closer inspection unfolds
layers of texture and negative space."
"I have chosen my materials for their unstable yet enduring properties. The corten steel will change with time, eventually rusting to a deep burgundy while the large tree trunks will grey and change depending upon the environment. The natural contrast of decay enhances the life of the piece. Time will change them, but will not destroy them. They are designed to age gracefully.'
Joseph Castle
of Bellevue, Idaho, contributed, "Relationship Series V"
and "Relationship Series VII", made of Bronze, says:
"The graceful simplicity of 'The Relationship Series' serves
as a means for pushing the contrast between dynamic energy and
reflective contemplation, continuity and dichotomy. The artwork
inspires and lifts the eyes skyward, as it calms the spirit and
mind. The sculptures reach skyward, representing goals and ideals,
while at the same time they are rooted in solid mass, denoting
stability and strong foundations."
Diran Lyons of
Brandon, Florida and the [FL]WHAT.IF?SOCIETY (Diran Lyons, Kenny
Faircloth, Tyler Jopek, Mark Oliver, and Jaime Wharton) offered,
"Crossroads", made of Oil Enamel on Cast Fiberglass
Resin, says:
"In an era engulfed by digital technologies, sugar-coated
foods, and manipulative political ideologies, the [FL]WHAT.IF?SOCIETY
(established in 2005 by Diran Lyons) draw upon a host of artistic
lineages to produce ludic and performative public installations.
George Legrady's analysis and utilization of algorithmic logic,
Bridget Riley's obsessive and repetitive use of line, and Jeff
Koons' focus on childlike themes and playful use of color become
catalysts for the employing of Easter candy as a stand-in for
the human body, mass consumption, the widespread use of toxic
food preservatives and poor eating habits, multicultural populace,
and overpopulation. 'Crossroads' thereby represents the satirical
homogenization of such diverse disciplines and areas of cultural
study, self-reflexively pointing to a moment in warring human
history that is pregnant with suspense and uncertainty."
Doug Makemson
of Nicholson, Georgia, contributes, "Dragonfly" and
"Red Eyed Stork", made of Chrome, Stainless Steel, and
Aluminum, says:
"The work is representational, made from scrap steel, stainless
steel, copper, cast iron, chrome steel, with the occassional aluminum
and brass. Principal forming methods include electric welding,
hyraulic shearing, oxy-acetylene cutting, welding and brazing,
hammering, and grinding. The raw material is obtained from bussinesses,
scrap yards, and farming activities. The use of thick and non-corrosive
material ensures that the sculptures will last when exposed to
the elements. While using metal as raw material, the challenge
is to create sculptures that seem alive. One way this is achieved
is through implied motion. A cocked head, an open mouth, an asymmetrical
stance all breathe life into the animal or figure. During the
process the pieces develop individual personalities. The character
of the raw material is retained in the finished work, so that
from a distance one sees the form of a creature in the landscape,
but as one gets closer the parts become recognizable as more or
less familiar objects from our industrial culture. This simulates
the viewer's sense of wonder and imagination. The work has been
very popular when installed in public places; children especially
are captivated by the large beasts. One message in my work is
that there is value to be found in objects and people that our
culture deems worthless, if we will look for it. I hope that my
work will make you smile."
Shawn Morin of
Bowling Green, Ohio, offers, "Armor", made of Georgia
Granite and Steel, and "Gabriel's Angel", made of Vermont
marble and Steel, says:
"For our struggle is not against flesh and blood, but against
the rulers, the against the authorities, against the powers of
this dark world and against the spiritual forces of evil in the
heavenly realms. Therefore put on the full armor of God, so that
when the day of evil comes, you may be able to stand your ground,
and after you have done everything, to stand." (Ephesians
6: 12-13, Holy Bible, NIV).
"As a father, it is comforting to know that we all have guardian angels that intercede, protect, and minister to us. 'Gabriel's Angel' is one of two sculptures I have made for my eight and twelve year old boys. This particular piece is made of Vermont marble, one of more than fifty types of stone that I have worked with over the course of my twenty five year career as an artist."
Adam Walls of
Spartanburg, South Carolina, contributed "Get Away Car"
made of Painted Steel and "Memory Bomb", made of Steel,
Iron, Music Box, says:
"Over the past three years, I have primarily produced large,
outdoor, steel sculpture. My work deals with themes such as memory,
trauma, childhood, fantasy, and toys. This work tends to seem
playful with psychologically charged undertones. My work is viewer
interactive and highly responsive to the human figure."
"Several sculptures include the element sound. For example, in the sculpture entitled Memory Bomb, the viewer is invited to reach into the piece and wind the music box, which plays a lullaby. Despite the fact that these sculptures have their own meanings to me, it has always been important that the viewer is able to find their own references as well as aesthetic sensibilities."
Wayne Trapp of
Vilas, North Carolina, offered "Joy of the Cosmos",
made of Stainless Steel, says:
"As an artist, I feel that an original sculptural form must
pass the test of time both aesthetically and physically. Public
art enriches the cultural posture of a community and must therefore
enhance the site and become an intriguing form, which invites
viewer reflections and responses. A sculpture should compliment
and interact with the environment at hand, while provoking thoughts
of wonder and amusement from the viewer. Materials are of utmost
importance. In order to pass the test of time, I only use stainless
steel, granite, marble, bronze and coríten. In combination
or alone, these earthy elements will age gracefully and invite
scrutiny for many a generation."
Liz Vercruysse
of Herman, Nebraska, contributed "Stacks", made of Clay,
says:
"I'm an object maker. The process of making forms, the repetition
of making forms and the freedom to experiment with these forms
are what motivate and influence the finished product."
"My most recent work has manifested into several different finished forms. Making forms and then assembling a finished piece through hanging, stacking, and installation results in a fresh and spontaneous way of working that also allows for more freedom of experimentation within the form itself: throwing, altering, texturing, firing, slipping and glazing. I enjoy the process of making and assembling pieces like a compositional puzzle. The resulting work has a far more interesting visual vocabulary than any singular form."
Ted Pickering
of Wadmalaw Island, South Carolina offers "Carousel",
made of Found Objects, says:
"While working in several disciplines, including video, photography,
painting, sculpture, and writing, I currently have begun to build
'cyborgs'; functional only to the degree of their purpose, as
sculptures or artwork. Among the found objects used in their creation,
or 'animation', is metal, bone, wood, plastic, and glass. In a
society where one person can create as much as one and one-half
tons of waste per year, I think it important for people to be
confronted with what they leave behind."
"I believe my overall classification is that of a Folk, or Outsider artist. What matters, however, is where I am, and what I am trying to share: in creating a semblance of the same source in all the various media I work in. Not necessarily a cohesive bond, but at least a recurrent theme, no matter how broad, and a shared origin."
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