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26th Rosen Outdoor Sculpture Competition & Exhibition

May 21, 2012 - Feb 28, 2013

Rudy Rudisill, Home Sweet Home. 26th / 2012 Rosen Sculpture Competition Winner.

Juror: Roy Strassberg

Curator: Hank T. Foreman

Assistant Curator: Brook Bower

Home Sweet Home: Rudy Rudisill

Gastonia, North Carolina

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Galvanized steel. 7’7″ H x 4’1.5″ W 4’1″ D

Rosen Award 1st Place

Artist’s Comments

Vague overtures to the psychosexual ramifications of good bourbon and long drives in the country. Images on the shoulders of other images, moving, always moving, in transition, transcending, changing, always changing.  

Drawn from visual memory; from subconscious connections with the relationship of physical elements to their symbolic implications; personal, cultural, and historical.

Fleeting time, change, erosion, implosion, explosion, divestiture, mergers, rust and renewal. Common, uncommon, bland, dull, repetitive, fresh, new, the same; only different. Microseism, mirror, challenge, threat; so many days so little time. 

Comfort cousin, discomfort sister, today never comes.

Freezing time, each image—specific to itself—a fragment of the continuum of production. Light scatters, gathers, darkness comes and goes. Eyesight, hindsight, blindside, upside down banana.

-Rudy Rudisill

About the Artist

Born in Gastonia, North Carolina, Rudisill conjures a building lost and abandoned, excavating it from memory. The illusion of change arises via galvanized steel and copper brushed with acid, yielding a corrosive effect. The work is simultaneously contemporary and traditional, industrial and pastoral as Rudisill explores the relationship of physical elements to their symbolic implications. By bringing together various textures and architectonic forms, personal, cultural, and historical elements bind together in and homage to the changing landscape. Each anthropomorphic piece carries with it a narrative and a particular relationship—sometimes familial, other times structural. A working artist for over 25 years, Mr. Rudisill’s fabricated sheet metal sculpture has won international awards and can be found in public, corporate and private collections in North America, Europe, and Asia.

Auf Einer Winternacht (On a Winters Night): Wayne Vaughn

Graham, North Carolina

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Patinated and fauxed steel. 9′ H x 13′ W x 11′ D

Artist’s Comments

The concept for Auf Einer Winternacht was conceived one cold winter’s night. The interlocking structure was a journey in learning new forms of connectivity using various shapes, thickness, and profiles. My attempt is to bring animation to the dark drama of a winter’s night.

-Wayne Vaughn

About the Artist

Wayne Vaughn is a builder, musician and sculptor. As an apprentice to a master carpenter, Vaughn enjoyed a successful building career that spanned four decades. Music plays an important part in his life as founding member of the 30-year-old Triangle Brass Band. Rooted in this combination of physical skill and know-how, dedication, and creative pursuit, his career as sculptor was fostered. Very quickly his bold, geometric, large-scale works began winning awards and the attention of regional and national shows.

For more information, visit www.thesculpturefarm.com/.

Camber: Jonathan Hils

Norman, Oklahoma

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Welded and painted steel. 5’10” H x 4’11” W x 3’2″ D

Artist’s Comments

My work draws upon both biological and systemic aesthetics found in nature and industry. Surface, volume and light generally mediate an experience of delicacy translated in meticulously fabricated steel that mimics organic abstract structures that are both solid and void at the same time. I’m interested in the interaction of seeing the entire sculpture in one sense, but never really seeing the entire sculpture the same way twice. In that sense, I want my work to be in a visual flux and never one thing at one time. I see this as a metaphor for the way the world really works, stripped of the emotional and political connotations we generally assign to things or actions.

-Jonathan Hils

About the Artist

Jonathan W. Hils, an Associate Professor of Sculpture at the University of Oklahoma, is a native of N.H. and he received his B.F.A. from Georgia State University and his M.F.A. from Tulane. While his works have been exhibited widely across the country in both group and solo shows, he has also completed numerous commissions for private and corporate entities domestically and internationally. In 2010, his solo exhibition “Intersection” was featured at the Oklahoma City Museum of Art and he was also nominated for a United States Artist Fellowship. Jonathan maintains a studio in Norman, Okla. where he teaches sculpture.

For more information, visit www.jonathanhils.com/.

Carry Forward: Joey Manson

Central, South Carolina

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Steel. 7′ H x 3′ W x 3′ D

Artist’s Comments

“Carry Forward” is an optimistic look at expectations of the future while absorbing losses of the past.

-Joey Manson

About the Artist

Joey Manson grew up traveling extensively, living in major cities abroad and in rural South Carolina. His background and interests led him towards studies in art where sculpture became his primary interest. He has a growing family and lives and maintains a studio practice on a small farm between Clemson and Six Mile while holding a faculty position at Clemson University in S.C. Joey received his M.F.A from Alfred University in Alfred, N.Y. and his B.F.A from Clemson University in Clemson, S.C.

For more information, visit www.joeymanson.com.


Comet: James Westermann

Morrisville, Vermont

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Steel, stainless steel and stone. 15′ H x 4′ W x 4′ D

Artist’s Comments

I don’t know whether I become a part of my work or my work becomes a part of me, but the exciting process of envisioning, sketching, building, and installing is what I enjoy the most.

-James Westermann

About the Artist

James Westermann lives in Vt. where he has been making steel sculpture since 2003. He enjoys the challenge of making the materials he works with do things that appear impossible, especially playing with gravity and balance.

For more information, visit james-irving.com/.

Double Half in Balance: Wayne Trapp

Vilas, North Carolina

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Powder coated mild steel. 10′ H x 5′ W x 4′ D

Artist’s Comments

This year of 2012 I’m happily celebrating 50 years of making sculpture. As every artist knows, when you create something, it takes a lot of energy to make it a reality. But in so doing you get back even more energy to continue on. This most recent sculpture “Double Half in Balance” is a good example of the magic of materials. By that I mean, being able to cantilever a huge amount of weight and have it appear suspended in space. Thus creating dynamic tension between the forms.

-Wayne Trapp

About the Artist

Wayne Trapp, the sculptor, has worked in stone and steel for years, creating lavish–even colossal–outdoor pieces for corporate clients and smaller more particular pieces for his private clientele. His hands, his shoulders, are sore and sensitive with the scars of sculpting, but he can no more give it up than he can give up breathing. He avows that now he sculpts only by commission, but if a fine piece of stone presents itself or a flash of metal catches his eye or a woman turns her head just so, or if the moon is right, well… the dance begins. With unbridled energy and an insatiable passion for everything that crosses his path, Wayne forever seeks interchange, new ground, and a good time.

Wayne lives and operates his studio out of Vilas, N.C., and has works in extensive corporate, institutional and private collections across the U.S. and internationally.

For more information, visit www.waynetrapp.com.

INTER-SECTIONS: Jerome Harris Parmet

Scarsdale, New York

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Welded and painted steel. 6′ H x 6′ W x 6′ D

Artist’s Comments

Inspiration for the sculpture’s theme was a “found object” uncovered in a scrap yard which becomes the strong circle element in the center. Its shape, size and position translated for me into the intersection of life’s cycles, the turning point from which life’s paths can be followed or passed up (or as Yogi Berra said, “When you get to a fork in the road, take it!”)
The sculpture was fabricated using two intersecting structural steel I-beams supported by four short platforms supporting the I-beams. At the intersection of these members, focus is directed to the prime element: the rotating circular structure that houses two three-dimensional filler pieces which, in turn, encircle a central diagonal “road” with a tubular base. In other words, the two filler pieces, one approximately 2″ thick, the other 4″ thick, wrap themselves around the tube at the base of the diagonal element.  

Adjacent to the prime circle element is a secondary sphere that also rotates, providing the viewer an interactive experience both of movement and provocation—is it the world turning? Is it the brain contemplating decisions? The sculpture is painted orange, black and grays as dominant colors providing contrast to the adjacent building and grassy areas.

Good public art creates a dialogue among it’s artists, community and audience…it can challenge the intellect, it can calm the spirit, it can help interpret its environment, or mark the importance of its existence…It can bring joy, and it can reflect sorrow. It can remind. When it is done well, it can, and it will, excite, catalyze, challenge and inspire.

-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.

Journey to the Top of Looking Glass: Kyle Van Lusk

Brevard, North Carolina

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Steel and cast iron. 11′ H x 5′ W x 2′ D

Artist’s Comments

I strive to create work that is engaging, original and has a strong visual impact on the viewer. I primarily work non-objectively, however, I often use familiar proportions and reference “real world” forms and ideas. I believe that sculpture should be exciting and new to the viewer and yet still contain an element of familiarity. My hope is that, upon experiencing my sculpture, the viewer experiences the feeling of being shown something they have never seen before yet still have a strong, indefinable and compelling connection with.

-Kyle Van Lusk

About the Artist

Kyle Van Lusk was born and raised in Brevard, N.C. and from a very young age was encouraged by his family to become an artist. Lusk received his first formal art training at Brevard College and later continued his undergraduate study at East Carolina University, earning his B.F.A. in 1995. Renowned for its excellent sculpture program, East Carolina University was also where Lusk chose to study as a graduate, earning his M.F.A. in 1998. Since completion of his graduate work in 1998, Lusk has created and exhibited work in galleries and public venues throughout the southeast. He served seven years on the Art faculty at Appalachian State University and is currently Associate Professor of Art at Brevard College in Brevard, N.C.

For more information, visit kylevanlusk.com.


One Big Scoop: Kevin Michael Vanek

Bowling Green, Ohio

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Fabricated mild steel. 11′ H x 4′ W x 1’10” D

Artist’s Comments

With my sculpture, homage is paid to the grandeur and misery found in industry and the labor class that occupies it. 

Through the sculptural object making of commonly recognized tools and equipment an affiliation towards labor is built towards the sculptures. Then, with the manipulation of size, material, color and function empathy is formed for the objects they represent. My hope is for the viewer to understand that there is a respect to be had towards industry and a beauty to be seen within the machinery and material used there in. By singling out only pieces of structural forms that represent a laborious task, attention is given to the individuals who had a hand in the overall construction.

-Kevin Michael Vanek

About the Artist

Kevin Vanek was born and raised in Euclid, Ohio, a suburb of Cleveland. Kevin attended his undergraduate studies at Bowling Green State University where he received a B.F.A. in 3-D studies with an emphasis in sculpture. After graduating, he moved to Greenville, N.C. to attend graduate school for sculpture at East Carolina University and is currently working towards an M.F.A.

For more information, visit kevinvanek.webs.com/.


Trojan Ocarina: Judith Greavu

Dola, Ohio

Johnny Miller Unequal Scenes Johannesburg, South Africia II

Silicon and bronze. 4’3″ H x 5’2″ W 3’10” D

Artist’s Comments

My sculptures develop from a form and gesture vocabulary that started to build when I moved to Florida as a 7-year-old child and observed or played with ocean creatures, insects and strange sub tropical plants.  

The nature investigations have continued and currently focus on Ohio pond life, including microscopic forms, and tide pools of coastal Northern Ireland and Donegal, Ireland, as well as reinvestigated Florida forms.

The sculptures often do not directly represent animals or plants but do catch the gesture and spirit of bio forms. 

The complex lost wax bronze casting process becomes an important part of expression in the sculptures. Although I pour wax into traditionally pulled molds from full scale plaster sculpture models, I also like working the wax directly through flattening and folding as well as pinching and pushing. That manipulation can give a tactile jolt that is directly translated into the bronze that is poured into the refractory molds from which the wax has been melted.

-Judith Greavu

About the Artist

Judith Greavu received her B.S. in Art Education from Ball State Teachers College in 1963 and her M.F.A. from Bowling Green State University in 1967. She taught in the Art Department of Ohio Northern University in Ada, Ohio from 1985 to 2005. 

She has exhibited regionally and nationally, including: the Polk Museum Outdoor Sculpture Competition in Winter Haven, Fla.; Millennium Sculpture Exhibit at Bowling Green State University in Bowling Green, Ohio; the Sculpture Center in Cleveland, Ohio; Flatlanders, Blissfield, Mich.; American Gallery in Sylvania, Ohio; Gallery at 24 in Miami, Fla.; University of Southern Maine; Everglades National Park; the Midwest Sculpture Initiative at University of Toledo and Owens Community College, Toledo, Ohio; Ella Sharp Museum, Jackson, Mich.; Canton, Mich.; and Lancaster, Ohio. Greavu has completed public sculpture commissions at the Vero Beach Entomology Lab of the University of Florida; Tiffin University; Inniswood Botanical Gardens in Westerville, Ohio; Blanchard Valley Hospital in Findlay, Ohio; the village of Bluffton, Ohio; and Gallup Park in Ann Arbor, Mich.

Greavu works in a sculpture studio in rural Dola, Ohio and shares some of the space with her husband, potter, Bruce Chesser.

For more information, visit judith.greavu.com/.

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. Bowers 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 Centers 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.