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23rd Rosen Outdoor Sculpture Competition & Exhibition
Apr 18, 2009 - Mar 1, 2010
Trace O’Conner, Iscariot. 2009 / 23rd Rosen Sculpture Competition Winner.
Juror: Daniel Stetson
Curator: Hank T. Foreman
Assistant Curator: Brook Bower
This year for the first time, the 23rd Rosen Sculpture program partners with the Downtown Boone Development Association’s (DBDA) Public Art Program to offer two additional sculptors a chance to participant in the Rosen program with the Community Choice Award. This new addition to the program has been made possible with to the continued generosity of Martin and Doris Rosen, which provided support for this partnership.
Jon Howson and Douglas M. Gruizenga, have joined the Rosen Program and have placed their work off campus in downtown Boone. The partnership, says Mary Ella Baker, the DBDA’s Public Art Program Director, is significant for the town as well as for the university. “I am thrilled about the DBDA Public Art Program’s recent partnership with the Rosen Sculpture Program,” says Baker, “This partnership reinforces ASU’s and the Town of Boone’s involvement in and dedication to western North Carolina’s growing arts community. The Rosen Sculpture Program is a well-established program that has proven its effectiveness through its outstanding staff, the program’s popularity as part of An Appalachian Summer Festival and the talented artists who participate in the annual competition. The Public Art Program is proud to take part in this exceptional program.”
The DBDA Public Art Program collaborates with the Watauga County Arts Council and the Public Art Committee to provide public art for downtown Boone. The Public Art Program’s goals include the addition of sculptures, downtown gateways, murals and streetscape improvements in the downtown area. The residents of Boone have been promoting a thriving arts community for years and care deeply about investing in downtown Boone’s future; public art is a fantastic outlet for emphasizing our civic pride and Boone’s unique cultural character.
About the Juror
Daniel E. Stetson, the Executive Director of the Polk Museum of Art in Lakeland, Florida, graciously serves as the juror for the 23rd Rosen Outdoor Sculpture Competition & Exhibition.
Since 1996, Daniel E. Stetson has served as the Executive Director of the Polk Museum of Art in Lakeland, FL and possesses over twenty-nine years of museum directorial and curatorial experience. Stetson has curated numerous exhibitions and organized major sculpture projects throughout his career, which include the Florida Outdoor Sculpture Competition , now entering its 9th year and the Lakeland Invitational, entering it’s 2nd year.
Stetson has served as a grants review panel member nationally on many projects including: the I.M.L.S. General Operating Support Grant, LOG program, Florida Arts Council Visual Arts Organization Grants and Art Fellowship, the Texas Commission on the Art, and for the Iowa Arts Council. He has also served as an American Association of Museums Accreditation site visit team member. In addition, Stetson also acts as the Vice President of the Florida Association of Museums (FAM) and Vice President of the Florida Art Museum Directors Association (FAMDA). He also sits on the steering committee for Polk Vision and Lakeland Vision and has been the President of the Cultural Arts Board and Board of Director’s executive committee of the Polk Arts Alliance.
Steston holds an M.F.A. in Museology from Syracuse University, a B.A. in Art History from State University of New York, SUNY Potsdam and is an inaugural class graduate of the MyRegion.org Leadership Program, Leadership Lakeland graduate and is a graduate of the inaugural class of Polk Leadership.
Iscariot: Trace O’Conner
Greensboro, North Carolina
Galvanized steel, light poles, structural and welded pipe. 11′ 6″ x 19′ 4″ x 31′ 7″
Rosen Award 1st Place
Leave the world in better condition than you found it.
About the Artist
Media: Predominantly welded steel of various types, also wood, cement, marble, bronze, plaster and leather.
Genres: Mostly, I work with reclaimed or recycled steel and wood as it gives character to my finished pieces that I would spend hours imparting by hand. This means that though most of my pieces have no profound political or religious agenda, they do have a “genesis” or “renaissance” feel. Almost everything I employ is used in some fashion which gives my work an eco-friendly look, and also gives viewers a common language to greet and digest my aesthetic. “Oh that used to be one of those … you know … things” is often overheard amongst gallery patrons.
First Artistic Murmurings: No fancy art school. No private lessons. I remember a kid teaching me to draw in kindergarten and it took off from there, really. I always drew my way through school and didn’t really have traditional sculptural media readily available, save for Playdoh, until college. When clay passed my hands, I would always make compound shapes; duck bills, ribbons, flowing hair, fan shapes, etc.. Every teacher from middle school on stressed “structure” and “stability”. Put everything together and it’s not hard to see why I’m on this path. Today I make abstract carved wood pieces coupled with heavy machinery parts and giant human-octopus hybrids the size of my first apartment.
Inspiration: Nature. Nature. Nature. I get lost sometimes when I look at the structured growth of a piece of deer antler or slow motion crash of an ocean wave. Two old trees so close that they’ve almost grown together, the complexity of the simplest hydrogen molecule or the uncanny visual similarity of insects and deep sea life. The spiral of a hurricane. The zippered hooks in the strands of flight feathers of raptors. It’s all there and it’s all been done already by mother nature herself. All we can do is attempt to imitate and reassemble while respecting her boundaries.
To What End (Why): Why? Why not? Why would you not take advantage of your life? I’m smart, young, willing and capable. That’s why. I’m smart enough to know the difference. I’m young enough to know what 110% is. I’m willing to make sacrifices and I’m capable of accomplishing anything to which I apply myself. What I’m not willing to do is pass up opportunity. One of my favorite quotes as stated by the philosopher Bruce Lee: “…as how the sculptor, who does not keep adding clay to his statue, but instead strips away the inessentials until the truth is revealed,” here linking Jeet Kune Do, his pared-down and focused, highly adaptable fighting style to everyday life once again. If you know your direction in this world, go as though your life depended on it. Don’t bother with what’s mere distraction. Move with a purpose!
For more information, visit lyndonstreetartworks.com/.
BEREISHIS (In the Beginning): Jerome Harris Parmet
Scarsdale, New York
Welded mild sheet steel primed and painted. Three separate components: 9′ 7″ x 2′ 8″ x 2′ (variable)
Sculpture might be called my “second language” after having first enjoyed a 40-year career planning and designing architectural interiors. Perhaps because of this, the underlying concepts of design, balance, tension, color and expression are inherent for me, allowing them to flow seamlessly.
My artistic mode of expression is specifically steel sculpture—the strength and durability of the material versus its surprising liquidity and malleability fascinates me. I want my art to speak for itself from my feelings to the viewer’s emotions. Therefore, I work primarily without a preconceived plan or concept, as the outpouring of absorbed experience plays a major role in guiding my hands and achieving their goals. I might say it’s almost spiritual.
Admittedly, there are times when practicality and conceptualization, pre-drawings and maquettes are important supplements to working by pure instinct. For example, the criteria of a corporate client, a public venue, an architectural setting become an integral addition to the design process. Guidelines create exciting challenges too.
“Bereishis”, Hebrew for ‘In the Beginning’, was self-inspired by spiritual principles upon which my religious affiliation built its covenant with its congregants many years ago; Worship, Community, Learning, Responsibility and Commitment. My vision was to create one common sculptural form that could be modified to express the differences among the principles while retaining a sense of their cohesiveness. Hopefully, the viewer will bring his/her own emotional interpretation of the figures to the viewing—perhaps Wisdom, Compassion, or Celebration? The spiritual response is intended not for the eye of the beholder but to resonate instead for the soul of the beholder.
-Jerome Harris Parmet
About the Artist
In 2000, after 35+ years practicing interior architectural design, Jerome Harris Parmet changed directions to study and to produce steel sculpture, which has been a life long ambition.
The principles of architecture, whether interior or exterior, revolve around three-dimensional space. The same applies to sculpture, whatever the material from which it is created. The similarities of both disciplines appeal to Jerome, perhaps because sensitivity to space and special interrelationships come naturally to the architect. Both architect and sculptor need to balance four considerations—Form, Function, Economy and Time—as their framework for resolving concept, in order to thrive as artist and business person.
Jerome has studied technique with Leslie Dor, David Boyajian, and Bob Perucci three respected teachers in the field, among many others. In 2002, he opened his own studio to give unlimited expression to the artistry that springs to life when manipulating steel into structures, from monumental to tabletop.
For more information, visit www.sculpture.org/parmet.
Communion Bench: Suffering Passes, Having Suffered Never Passes: James Fuhrman
Oak. 2′ x 15′ x 15′
The sculpture is dedicated to those who mourn losses in war, genocide, and political terrorism. The piece is conceived from the point of view of the viewer … those who have suffered loss.
This is one of five pieces originally proposed to honor the “desaparecidos” in Buenos Aires, Argentina. Its meaning has expanded to embrace the more specific contemporary losses from 9/11 and the Iraq war.
This installation is both commemorative and unifying. It consists of a bench and four sharply cut fragments of benches sited in a 15 foot concentric, yet open, oval. The contrasting elements—the whole and complete, the torn and ripped, are testimony to the sudden loss experienced by the survivors.
Viewers are encouraged to sit in the piece. The bench and remains have a curving, enveloping form bringing participants together, recognizing the unspeakable loss of the victims … and the hopefulness of joining with others to find resolution.
The elements encourage an interaction, a ‘joining together’—a communion. Places to sit among them are “missing”—”disappeared”—to honor those who are not there and to acknowledge their missing voices.
In form and shape, the benches are a series of three-dimensional, gestural strokes, as if from the ink of a calligraphy brush in the Japanese enso circle form. The strokes embrace and hold the viewers. The circle form suggests both emptiness and completion—inclusion and universality—emptiness and nothingness.
About the Artist
James Fuhrman has worked as an artist and teacher since graduating from the University of Pennsylvania, (BA,1965) and Temple University (M. Ed, 1971). His work extends from architectural scale public art venues to more quiet, contemplative studio sculpture, drawings and prints.
The study of Martha Graham dance, 1979-83, including a time drawing at her studio in New York, led to a series of calligraphic drawings where the intensity of the movement in the class seemed to flow spontaneously and automatically from the calligraphic brush into forms across the paper. This set of drawings changed his work from a study of geometric forms to explorations of a more personal and expressive nature.
The calligraphic nature of the Graham Technique drawings led him to study and work with the Japanese Zen enso circle form that connotes completion, fullness and inclusion. Ink drawings and digital/drawing prints are a vital element in his sculpture process—the drawings inform the sculptures; the sculptures inform the drawings. These drawings generated works as seen in the variety of bench forms and in some public art.
His most recent work includes careful considerations of contemplative spaces, finding quiet and stillness in using natural materials in more geometric forms that become spaces of quiet contemplation and reflection for the viewer to enter no matter the scale.
Recently Fuhrman recognized that a strong affinity for geologic forms has emerged in his work. These seem to be the edges of the earth – volcanic calderas, Scott’s Bluff, Nebraska formation and rock and mountain formations.
He has worked in materials as diverse as welded stainless and concrete, welded Cor-Ten steel, wood, as well as installations of lighting and sunflowers and other natural materials. Fuhrman’s work has been shown in, and is part of numerous public and private collections, in the City of Miami, FL, Dade County, FL, City of Philadelphia, PA, Washington DC, New York, Perth, Scotland, Great Britain, Japan, Brazil and Argentina and projects for the Redevelopment Authority of Philadelphia, PA. His completed architectural projects include a residence and a public art commission for an entry to a medical center. He taught Design and Aesthetics at Philadelphia University between 1985 and 2006.
Dress: Derek Chalfant
Elmira, New York
Fabricated stainless steel. 9′ x 5′ 2″ x 2′ 3″
The sculpture is shaped like an over-sized dress and made of stainless steel, which is different from the more common dresses made of soft, lightweight more comfortable and wearable materials. This dress sculpture is oriented horizontally while most dresses we see are worn and displayed vertically. This sculpture is fabricated in ways similar to articles of clothing as the material is cut based on a pattern to form different parts. Next, the parts are welded together (like sewing with thread) inch by inch and then finally abraded to a seamless finish.The individual, four legs support the dress-shaped functional table or bench.
The work I create is formed through casting (chocolate, bronze, glass) and fabricating (wood, metal) objects; transforming my ideas and experiences into physical realities. I have an interest in the orchestration of a variety of materials and search for contrast between the organic and geometric, the abstract and representational, and the raw and refined. Often I use themes, sources, or objects I can trace back to my own personal history, which gives me an ancestral connection.
Many of the forms I create, reminiscent of architecture and objects of suggested utility, security and protection, are used as metaphors for our psychological behavior, and for the phenomenology of the body. Architectural furnishing structures like a chair and table, allow me to explore specific polar states that are relevant to the structure and also to the personal psyche such as: large/small, inside/outside, private/public, adult/child, beginning/end, birth/death. The sculptures that I create are a means to reflect certain elements of our society. Paradox is probably the most poignant in my work. Part of the narrative in my pieces has to do with the human condition and in particular today’s youth. Connotations of purity; innocence and promise are being subjected to some of the elements of the environment around it, which are disrespect, danger, violence and abuse.
To the viewer I hope to engage and reflect my questions and interests related to spirituality and sensitivity toward humanity. It’s my desire for my sculptural work to be thought provoking as I attempt to create a richness of meaning with the ambiguities, enigmas, multiple layers and conflation’s of both form and content. Ultimately, I am responding to some my fears, emotions and environment while questioning the world in which we live.
About the Artist
Born in Danville, Indiana, Chalfant earned his Master of Fine Arts from The University of Notre Dame after receiving his Bachelor of Fine Arts degree from Herron School of Art- Indiana University Purdue University at Indianapolis. He has been teaching Art and Art History at Elmira College in Elmira, NY since 2003, and has been teaching at the college level since 1991. His courses include contemporary art history, metal casting, furniture design, and all levels of sculpture. Chalfant is active on campus and is the advisor for Habitat for Humanity and Café Society, the Art and Anthropology club. He supports the arts by jurying regional art exhibitions and performing pro bono work. Chalfant exhibits his sculpture and furniture nationally and is continually being commissioned to design and create artwork. His research includes designing and making sculpture and furniture specializing in wood and metal fabrication, as well as casting metal and glass.
For more information, visit www.derekchalfantstudios.com.
Flower: Derek Chalfant
Elmira, New York
Fabricated stainless steel. 12′ x 8′ x 4′
The work I create is formed through fabricating metal objects; transforming my ideas and experiences into physical realities. Often I use themes, sources, or objects I can trace back to my own personal history, which gives me an ancestral connection. This sculpture may be used as a table, a bench, and a bed.
The “flower” is something I grow, research and observe. A flower can symbolize a plethora of ideas including birth, life, love and death. A flower is simultaneously simple and complex, and can live for a day or for weeks. The flower in this sculpture, as a vital centerpiece, is a fundamental image of food. Supporting this landscape-like table is an architectural structure that resembles a house and a necessity for shelter. A physical support to this piece is an archetypal dress form, which is symbolic of clothing.
The work I create is formed through casting (chocolate, bronze, glass) and fabricating (wood, metal) objects; transforming my ideas and experiences into physical realities. I have an interest in the orchestration of a variety of materials and search for contrast between the organic and geometric, the abstract and representational, and the raw and refined.
About the Artist: See above
The Geometry of Sol: Phil Proctor
Steel, stainless, granite and aluminum. 13′ x 10′ x 6′
I enjoy working with “solid” materials like metal and stone and I try to use them in a manner that accommodates the natural tendencies of those materials. I utilize the colors and textures that occur as a result of natural oxidation and patination. This technique makes my outdoor sculpture virtually maintenance free while simultaneously exhibiting qualities of earthliness and wholeness. For many years I have been executing sculpture that embodied the concept of energy and physical space. However, recently I have taken that static concept to a new kinetic plane by integrating moving elements that emphasize the idea of energy.
About the Artist
Phil Proctor is an artist who has been living and working in southeast Atlanta for the past five years. Originally from south Mississippi, he holds a BFA from the University of Southern Mississippi and an MFA from East Carolina University. Proctor has permanent sculpture installations throughout the southeast as well as in other countries across Western Europe. In 2003 Phil was commissioned by a private development group in conjunction with the City of Atlanta and Marta to design and construct a public artwork, Linkage, which now stands at the Lindbergh City Center Marta station. In 2008 Proctor received another commission from the city of Atlanta to design and build a 22′ tall kinetic sculpture for South Bend Park scheduled for installation in mid 2009.
For more information, visit www.philproctor.com.
Joiners: Karen Ives
Asheville, North Carolina
Wood, paint, steel and marine varnish. 9′ x 20′ x 7′
“Joiners” is about parts coming together to create a whole. Through movement, strength and scale each section flows with the other to tell a story about the form and its surroundings. One might think of a pre-historic creature moving slowly in a grassy field, others may see an arch with spaces for viewing the sky and yet others may see the beginnings of a habitat. I enjoy playing with the idea that the form at once existed as something and is no longer in use. It remains in an awkward and unfamiliar situation ready and waiting to balance itself.
During the building process I am constantly moving through and around my pieces, taking them apart and putting them back together. I love color and pattern and playing with surface design on wood. My goals are to continue creating large scale, public pieces that engage the viewer not only in thought but also in action.
My sculpture is about social situations and everyday routine. I usually take a familiar idea and put it in an awkward or unfamiliar place creating a tension that can be good and/or bad. Sitting close to someone, looking someone in the eye, being low to the ground instead of in a chair all seem to make most of us uncomfortable. I want to bring this tension out into the open and play with it. I enjoy using my hands to create and build. My sculpture shows an interesting love of color and pattern in combination with wood and fabric. Silk-screening, woodblock printing, layering of paint and experimenting with upholstery, embroidery, and appliqué are all obsessions I explore. With each series that I create, a narrative of some kind takes place between the forms, their surroundings and the viewer. There also seems to be a pleasant, restful feeling in my sculpture, one that allows us to explore the forms and engage in interesting or maybe awkward conversation.
About the Artist
Karen Ives was born in Texas and moved to Chapel Hill, North Carolina at the age of seven. “Ever since I can remember, I have been creating something with my hands. Both of my parents are involved in the arts; my mother is an art educator and fiber artist and my father is a woodworker and liturgical designer. I grew up surrounded by color and sawdust.” Ives received her BFA from the University of North Carolina-Asheville in 1993 and an MFA form the University of Wisconsin-Madison in 2000. She lives with her husband and their two daughters in Asheville, NC where she teaches and creates. Ives enjoys building site-specific sculpture whenever possible and has received two project grants from the Asheville Area Arts Council.
For more information, visit www.karenives.com.
L’Albero Di Vita: Kevin Eichner
Moncure, North Carolina
Re-claimed Steel. 8′ 6″ x 6′ 5″ x 4′ 6″
My work strives to understand the truth of the material and the process, while at the same time explores different ways to stretch and manipulate that truth. This series began after spending hours trying to force the material to do something, in a moment of exhaustion and uncertainty, the I-beam seemed to breath, and as that breath opened up the beams, they began gesturing towards the sky and starting to blossom. As the work continues to grow and evolve, the beams naturally intertwine and interact: the industrial nature, the human nature and Mother Nature.
About the Artist
Kevin Eichner was born in Buffalo, NY and scavenged amongst the mountains of industrial scrap in the shadows of the Bethlehem Steel. Certain he was destined to be an artist, he went on to achieve his BFA at Buffalo State College, where he received both a formal, figurative, atelier style training and a modern, contemporary, philosophical focused education. He proceeded on with his Master’s work at East Carolina University and continued to study and explore the movement and gestures of the human figure within the rigid, industrial I-Beam.
Kevin continues his explorations while living and working in Moncure, NC and has been the Resident-Artist at the Moncure Mechanism of Art since 2004. After a stretch of teaching in New York and North Carolina, he has turned his focus on working out of the studio full-time, offering workshops and classes thru The Moncure Mechanism of Art and mentoring students from the Central Carolina Community College Sculpture Program. His work has been exhibited nationally and internationally and belongs to a number of public and private collections throughout the state.
For more information, visit www.kevineichner.com.
Mahogany View: Shawn Morin
Bowling Green, Ohio
Granite. 6′ x 2′ 3″ x 9″
“Mahogany View” is another piece within a series of work that centers around the concept of windows, gateways, arches, and portals. Over the years, these kinds of compositions have become extremely compelling to me. There are, of course, a multitude of reasons for this. Some of them include my fascination with symbolism and architectural embodiment, Christ’s exhortation to “enter through the narrow gate”, and the proliferation of it’s use throughout art history, as well as the modern, post-modern, and contemporary art movements. Other personal works in this series include: “Byzantium Fading”, “Narrow”, “Gethsemane”, “Narrow Revisited”, “Nebuchadnezzar’s Furnace”, “Angelic Interlude”, “Narrow #5”, “Narrow #7”, and “Byzantium Rising”.
About the Artist
Just prior to receiving his B.F.A. in sculpture, Shawn Morin asked one of the professors he admired most: “So, do you think I have what it takes to be an artist”? Without missing a beat or bating an eye, he smiled and said, “NO, you don’t.” A few months later Morin entered the M.F.A. program as the University of Georgia in Athens as an “irregular undergrad,” which, when translated means, “we’ll let you enroll on a trial basis, take your money for a year and see what happens”. After successfully completing his first year in Athens, he was fully accepted into the masters program and granted an assistantship. However, a few weeks later he received a letter from the university stating that his assistantship was being revoked and that he was being asked to leave the university due to low GRE test scores. Nevertheless, Morin completed his M.F.A. the following year and at age 26 began his teaching career. Recently, he chaired a committee that abolished the GRE requirement for M.F.A. applicants at BGSU. The very next year, the number of graduate applications in the School of Art more than doubled.
Morin has just completed his nineteenth year as Head of the Sculpture Program at Bowling Green State University in Ohio. He has participated in more than 140 exhibitions throughout the country, and his work can be seen in 15 permanent public collections, and is included in over 35 private collections. Since 1992, nearly every one of Morin’s own graduate students are currently teaching in high schools, colleges, and universities around the country.
For more information, visit shawnmorinsculpture.com.
Pilgrim: Charlie Brouwer
Locust wood, screws and preservative stain. 8′ x 4′ x 5′
I’ve been making these outdoor figure sculptures for about 5 years now. I started them when I found this wonderful, locally available, extremely hard and weather resistant locust wood. I also came upon a process of working with wood that felt a lot like drawing—I was able to create a form by adding one “mark” to another. I felt comfortable with this way of slowly building up a form, tentatively discovering it as I went. I enjoy combining found pieces with a deliberate band saw cutting of shapes and saving the scraps to eventually add later as found shapes. Assembling them with deck screws not only makes them strong but also allows “erasing” and modifying when necessary. When I finish building a figure I sand it all with a disc sander and stain them to unify the surface, preserve them and suggest something with color that relates to the theme.
A human doing something works well for me as subject matter because I am interested in human purpose, intent, desire, faith and hope. My figures are usually trying to figure things out—or at work doing something useful or positive. I don’t intend any answers but I do believe that art can help us ask questions regarding how we should live.
This “Pilgrim” is on his way. He has left home to search for home. He is walking in that in between land—that “grayland”. He is sure about two things—he must keep moving, and he will recognize his destination when he finds it.
About the Artist
Charlie Brouwer has been a full-time artist since he retired from teaching art in 2008.
He received his art education at Portland State University and Western Michigan University where he received his MA in painting and an MFA in sculpture. His teaching career took him to Fig Tree High Public School in New South Wales, Australia, Kalamazoo Christian High School in Michigan and Radford University in Virginia.
For more information, visit charliebrouwer.com.
Pocket Version: Kristy Summers
Aluminum, bronze and cast iron. 7′ x 7′ x 7′
I think about my work as a way to understand and make realizations about myself and society, to make sense of a thread that is going to take me through life and lead me to a destination. My work is basic truths about the “self” hence myself. It is an exploration and acceptance of who I am and how I relate to my surroundings. I have created a system using a simple mapping, to break down complexities. It has been through a process of building myself up and breaking myself down to find a balancing point. It’s all a part of understanding.
About the Artist
Kristy Summers, Kansas born, earned her BFA focusing on sculpture from the University of Kansas in 2003. She received her MFA from the New York State college of Ceramics at Alfred University in 2006. Kristy has been living in southern Illinois for the past three years teaching sculpture, three dimensional design, and running a full foundry at Southern Illinois University at Carbondale where she continues to create her work and further her research.
Select Multiple: Turchin Center
Fred Spaulding (Guest Artist)
Brick, glaze, steel band, clay flue liners, and hand made parts. 6′ 7″ x 3′ 5″ x 2′ 4″
Commissioned by the Turchin Center in partnership with the Department of Art students, under the direction of Lynn Duryea and Lisa Stinson, for temporary installation as part of the 23rd Rosen Outdoor Sculpture Competition & Exhibition and in honor of An Appalachian Summer Festival’s 25th Anniversary.
I am fascinated by everyday objects and the constructed infrastructure that surrounds me in urban settings. I select, create, and/or alter small objects that reference transportation, information, and manufactured culture in an open ended and adaptive way. The resulting objects are shown both individually and as larger temporal assemblages that reinterpret the energy, activity, and physicality of contemporary life.
The main body of my work over the past ten years has grown out of an interest in the potential of ceramic building materials such as brick and clay flu liners. Such simple mundane material presents many possibilities when combined with glaze color, printed imagery, steel bands, and some hand made parts. The piece constructed for the Turchin Center for Visual Arts in 2009 Select Multiple: Turchin Center also includes many handmade parts created by art and clay students under the direction of Lynn Duryea and Lisa Stinson within the Department of Art at Appalachian State University. These additions are blended together with material from a local brick company and material I brought from my collection of material in Texas.
About the Artist
Born in 1965 in Manchester, Connecticut, Fred Spaulding grew up in Ventura, California. In 1990, he completed his Bachelor of Fine Arts Degree at California State University, Long Beach. The following years were spent training for the 1992 Olympic Games in which Fred competed in the single canoe events. The next two years were spent working as an artist assistant to James Melchert and Viqui McCaslin on tile mural projects for the Los Angeles Metro and for the Massachusetts Institute of Technology. During this time, Fred was introduced to Walter McConnell at the 49th Scripps Ceramic Invitational in 1993. Walter was an Assistant Professor of Art at the University of Connecticut and invited Fred to apply to the M.F.A. program, which Fred began in 1994. At UConn, Fred began working with bricks to create sequences of stacked shapes rebuilt at regular intervals. In 1996, Fred took a job in the Ceramic Department at The School of the Art Institute of Chicago as an evening ceramic technician. Fred was encouraged by Katherine Ross and James Lawton to use the studio to continue his work. He began to take photographs in the streets of Chicago and to silkscreen these images onto bricks. In 1997, Fred included these glazed bricks in the sequence of brick forms, which he exhibited at the G-2 gallery in downtown Chicago. Fred moved to Texas in 1998 to pursue a series of teaching positions at Victoria College, Tarrant County College, University of Texas Pan American, and University of Texas at Arlington. Fred has continued to explore the possibilities of constructed structures of brick expanding the number and variety of manufactured and hand made shapes in his collection enabling him to create larger forms with more irregular shapes.
A series of exhibitions and sculpture installations including showings in Kansas City, MO; San Diego, CA; Newcastle, ME; Chicago, IL; Boston, MA; Charlotte, NC; Houston, Dallas, and San Antonio TX, Skaelskor Denmark, Los Angeles, CA; Helena, MT; Matamoros, MX, and Bangkok Thailand, chart the development of this work. Fred has completed further study in translating his work into new material forms through residencies at Kohler’s Arts in Industry program in iron casting, and Penland’s Winter Residency in Printmaking. Fred is currently Associate Professor of Art at Tarrant County College in Fort Worth, TX. Fred and his wife Victoria maintain their home in Arlington, TX.
Trinity: Douglas M. Gruizenga
Welded aluminum and stainless. 7′ x 7′ x 3′
Part of the Downtown Boone Development Association (DBDA) Public Art Program
There are several premises that I hold to in sculpture design and construction.
It has been my assumption that, for much of our lives, we are greatly influenced by utilitarian objects created with the minds of men and women.
We have developed an affinity to the principles of composition, design, and function of man-made items.
Because each individual has a unique genetic make up, and a unique personal history, we each have variations in our interpretation of the logic of form and function.
The sculptures that I produce are an attempt to study the absolutes and variables of form. Each sculpture has a basis in actual objects that I have observed to be visually stimulating. I then vary the composition and the relationships between the design elements, in an attempt to understand the universal truths about composition and function.
Each viewer brings with them, individual experiences and understanding. It is my hope that my sculpture will be pleasing to the eye without limiting the viewer’s creative ability to interpret the subject matter involved.
I enjoy visiting my sculptures after a fresh snow. There are footprints of people that I will never know, who have taken the time to observe an object that I have constructed. Each person goes on about their life with an experience, good or bad, based on their understanding of the sculpture. It is an honor to have even one person take the time to view an object that I have constructed. It is amazing to think that an indelible image of that experience is recorded forever in their mind.
-Douglas M. Gruizenga
About the Artist
“I was raised in Portage, Michigan, with the goal of becoming an automotive designer. I have always been interested in all things mechanical and this extends to art. After my first semester at Western Michigan University, I transferred to the art education program. After receiving a B.A. I realized that I had only scratched the surface of what I wanted to know about sculpture. I went right on to the M.A. Studio art program at WMU.
“After graduating I wandered through several jobs that included teaching and working as a clay modeler at Chrysler. Eventually I found my niche as a Psychiatric Social Worker for nineteen years. While I continued to build sculpture, homes, boats, and cars on a part time basis. In 2003, I turned again to sculpture, which is my primary focus.
“I currently live in Interlochen Michigan where I am thrilled to be able to enjoy the student presentations at Interlochen Center For The Arts. I have two daughters, Hobie who is fourteen years old and Andrea who is 38. I consider my ability to build and share my sculpture as an honor for which I am thankful.”
Ascension: Jon Howson
Steel. 20′ x 6′ x 8′
Part of the Downtown Boone Development Association (DBDA) Public Art Program
I am proud to be a sculptor. I have been an artist my entire life but discovered in college that sculpture was my passion. I create “non-objective” sculptures with the goal of combining organic and geometric forms to create dichotomy and to suggest a sense of kinesthetic energy. I believe that the viewer should let the title of the sculpture suggest the direction the artist is taking, then interpret what the piece means to them. The piece exhibited in this show is called “Ascension” and it was created as a tribute to my twin brother who passed away. At the end of life I believe we all “ascend” into a new place and this sculpture is my interpretation of that journey.
About the Artist
Jon Howson is an artist whose day job is teaching art to middle-school students in Richmond, Kentucky. Jon has been living in Berea, Kentucky with his wife and two children since 1999. Jon was born in Somerset, Kentucky and earned his bachelors in Art Education from Berea College in 1980, his Masters in Education in 1998 from the University of Southern Maine and his Rank I from Eastern Kentucky University in 2003. Jon has had the pleasure of exhibiting his sculptures in numerous shows in Kentucky, Tennessee, Indiana and Maine.
About the Curators
Hank Foreman serves as Assistant Vice Chancellor of Arts and Cultural Affairs as well as Director and Chief Curator of the Turchin Center for the Visual Arts for Appalachian State University. He obtained his M.A. in Art Education from Appalachian, having completed undergraduate studies at the University of North Carolina at Charlotte, with a concentration in Painting and Sculpture. His duties include the administrative responsibilities for An Appalachian Summer Festival, the Performing Arts Series, Farthing Auditorium and the Turchin Center for the Visual Arts.
During his tenure at Appalachian State, Foreman has taken part in the organization of numerous exhibitions, including the associated lectures, symposia, and publications. He has worked closely with the university’s Department of Art, and a wide variety of other campus and community groups, to make gallery resources available to all. One of his earliest exhibitions at Appalachian, Views From Ground Level: Art and Ecology in the Late Nineties, brought internationally acclaimed artists, historians, and critics to the campus and received national attention.
Foreman is also an exhibiting studio artist, and participates in regional and national conferences as a presenter and panelist.
Brook Bower serves as the assistant curator and administrator for the Turchin Center for the Visual Arts and its staff. She received a BS in Art Management and a BFA in Ceramics from Appalachian State University’s Department of Art in 2001. Bower’s professional activities include curating exhibitions, lecturing, consulting for competition management, serving as a juror for local competitions, mentoring future art management students and managing several national art competitions including the Rosen Sculpture Competition, the Halpert Biennial and the Appalachian Mountain Photography Competition. Bower also serves as the Acting Registrar, providing collections management support for the Turchin Center’s Permanent Collection containing 1,481+ objects and managing the Intra-Campus Loan Program.
Following her undergraduate degrees, she has concentrated on furthering her education by attending conferences, courses and workshops expanding her knowledge of curatorship, exhibition design, and collections management. Bower recently participated in the 2011 SEMC Jekyll Island Management Institute and is currently seeking a Master of Visual Arts Administration, with a focus in curatorial studies, at New York University in New York City. She serves on multiple committees that concentrate on community enhancement utilizing the visual arts and serves as the faculty advisor for the Arts Management Organization (AMO). In addition, Bower is an active exhibiting artist.