26x28x50 - The Mount

26x28x50
26 artists, 28 sculptures, 50 acres
June 1-October 31, 2015
1. BERNARD KLEVICKAS, UNTITLED (RED ASSEMBLY)
stainless steel, aluminum, pigment; $20,000
2. BERNARD ZUBROWSKI, THE LONG GOODBYE
plastic, metal; $3,500
3. CHRIS PLAISTED, JACK IS AN OPTIMIST
steel, copper, aluminum; $15,000
4. BILL JACKSON, CYLINDER DIHEDRAL #1
steel; $15,000
5. GENE FLORES, EYRIE VII
stainless steel, bronze; $40,000
6. STEPHEN KLEMA, HOBBES’ CLAW #2
wood, metal, plastic; $6,500
7. GARY ORLINSKY, NABIGOS
wood, burlap, PVC; $1,800
8. EVAN MORSE, RHYTON II
marble, rope; $7,700
9. PETER BARRETT, SEGMENT FIGURE IV: CRUCIFORM
steel; $24,000
10. WILLIAM CARLSON, COGNITO
wood; $6,000
11. ANTOINETTE SCHULTZE, MOTHER TOTEM
granite, glass; $25,000
12. LUCY HODGSON, PUT A LID ON IT
concrete, steel, wire mesh, animal skull; $10,000
LUCY HODGSON, HYDRA-HEADED-HYDROFRACKER
concrete, steel, wire mesh, animal skull; $10,000
LUCY HODGSON, THERE’S NO OIL UNDER KABUL
concrete, steel, wire mesh, animal skull; $8,000
13. ANN JON, ELASTIC LIMIT
copper, netting, wood, pigment; $8,000
14. LEON SMITH, TRIUMPH
aluminum; $20,000
15. PETER DELLERT, S-WHORL
plastic, wood; $4,900
16. ELLEN WATSON, GREEN MEN
polyester resin, fiberglass, wool; POR
17. ROBIN TOST, CHINESE COINS
mixed metals; $5,000
18. FIELDING BROWN, BICYCLE WRECK
laminated wood, aluminum; $4,000
19. FAY CHIN, INTERIOR EXTERIOR
aluminum; $18,000
20. SUSAN FLORES, BORROWED SCENERY
wood, steel, pigment, paper; POR
21. TAYLOR APOSTOL, CHANDELIER ROOM
wire, steel, marble; $4,200
22. JOHN WILKINSON, RESIDENCE
cement, steel mesh, fiberglass; $3,700
23. PHILIP MARSHALL, METRO
steel, pigment; $12,000
24. MT. EVERETT HIGH SCHOOL, REMINISCENCE
mixed media; $2,000
25. SUSAN ROWLEY, STRONGARMED #3
aluminum, pigment; $5,200
26. SARAH HAVILAND, APPARITION
steel, galvanized mesh; $4,500
21
22
18
20 19
17
23
16
24
15
25
14
26
13
12
11
10
9
8
7
5
6
4
1
3
2
Sculptures are for sale. For information and sales please contact:
Ann Jon, Executive Director, SculptureNow: 413.623.2068 • [email protected] • www.sculpturenow.org
This exhibition and the SculptureNow student tours and workshops are supported by private donors, businesses, corporations,
family funds and foundations including: Massachusetts Cultural Council through Local Cultural Councils of Alford-Egremont; Monterey; New Marlborough; Otis; Sandisfield; Sheffield; & Stockbridge; Berkshire Bank; Berkshire Taconic Community Foundation: A.R.T. Fund and Lee Educational Enrichment Fund; Black Rock Foundation; Greylock Federal Credit Union; Hickey Family Fund; Price Chopper’s Golub Foundation; William & Barbara
Saltzman Charitable Foundation; Savanna Fund; The Schwab Charitable Fund; The Jane & Martin Schwartz Family Foundation; Marion & Leonard
Simon Fund & Turkeybush Fund.
Major Supporters: Anonymous (2); Lila Berle; Peter & Incy Brooks; Harold Grinspoon; Peter & Ann Herbst; Lucy Holland & Charles
Schulze; Petra Krauledat and Peter Hansen; Elizabeth and Robert McGraw; Kevin & Rosemary McNeely; Nora McNeely and Michael
Hurley; Jane Murdock; David Ricci; Joyce Scheffey; Diane Troderman & Allen Williams.
Please support our Art & Educational programs by sending your tax-deductible donation to SculptureNow, POB 600, Becket, MA 01223.
For information, sales and donations please contact Ann Jon, Executive Director, SculptureNow, 413 623 2068, [email protected],
www.sculpturenow.org
TAYLOR APOSTOL,
CHANDELIER ROOM
Inspired by simplified bodily lines,
creases and protrusions,
Chandelier Room evokes hair
surrounding a head and creating
a veil. The circular room creates
a veiled space, a sense of
privacy that is easily pushed
aside. Carved marble step stones
lead to the space inviting the
viewer to enter, reflect and touch
the swaying ropes.
PETER BARRETT, SEGMENT
FIGURE IV: CRUCIFORM
My work explores the plastic
quality inherent in steel. The
heavy structural segments are
meant to convey levity, provide
delicate shadows and subtle
negative spaces, and, perhaps,
even a sense of weightless
balance.
FIELDING BROWN, BICYCLE
WRECK
Bicycle Wreck abstractly conveys
a two-wheel bicycle disaster. Two
distorted rims meet at right
angles and join in a single,
continuous curve. The rims are
laminated wood and aluminum;
aluminized string represents the
spokes. It is mounted on a ball
bearing and rotates in the wind.
WILLIAM CARLSON, COGNITO
This show allows artists to draw
from the environment and
negotiate their vision with the
forest’s splendor. I chose
sculptures “grown” in my studio
that contrast and compliment the
setting. I assembled the wood
forms intuitively, creating shapes
that are abstract and unfamiliar.
For me this was a leap in a new
and different direction. Their
woodland location offers an
awkward, juxtaposed visual
relationship to nature.
FAY CHIN, INTERIOR
EXTERIOR
Environmental installations
prompt new experiences of
perception. My larger-than-life
works alter the normal
experience of viewing by inviting
walking through, around, and into
the sculptural space. The actual
location and surrounding
environment directly influence my
art and are often its source and
inspiration.
PETER DELLERT, S-WHORL
S-Whorl began as a series
of three dimensional paper
constructions, studies in form and
texture inspired by my interest in
minimalism. Here the scale is
increased tenfold while using
nature itself as the background. I
like the juxtaposition of the rigidly
designed manmade materials
against the landscape’s gentle
curves and soft textures.
GENE FLORES, EYRIE VII
My Eyrie Series I - VII pieces are
inspired by the many bird nests
and nestlings in the woods and
fields surrounding my home. I
have worked on this series for
about five years in different
scales. The bronze element
defines the separation between
column (tree trunk) and eyrie
(nest), and the arms represent
the flittering parents. A meditation
on the day.
SUSAN FLORES, BORROWED
SCENERY
I am interested in a deep sense
of place, including the
emotional. The structure’s design
refers to Edith Wharton’s The
Decoration of Houses and frames
a view at The Mount. Within is a
shelf for small paper books which
I have made. Viewers can also
add their own stories of this
place.
SARAH HAVILAND,
APPARITION
Apparition presents a mythical
human-bird hybrid in potential
flight. It exists in multiple realms,
neither bird nor human, gargoyle
nor angel. Perched on high, the
semi-transparent figure may
recall a ghost in the air, an
individual in formation, or a being
with uncertain destiny. Its simple
shape suggests the limits of the
real and call of the ethereal,
echoing many avian beings
related to the soul.
LUCY HODGSON, PUT A LID
ON IT, HYDRA-HEADEDHYDROAFRACKER & THERE’S
NO OIL UNDER KABUL
My work addresses the idiocy
with which we are destroying our
natural environment with toxic
waste. An industrial wasteland of
brutalist structures is rapidly
replacing valuable arable land
and sacrosanct wilderness. The
pieces represent the processing
plants/conversion systems
comprising the fossil fuel
industry, the tentacles of political
intrigue, and the futility of military
invasion.
BILL JACKSON, CYLINDER
DIHEDRAL #1
This sculpture’s two long
components allude to wing
design. The up-angled arcs and
the corresponding downreactions mirror each other and
the cylinders act like wedges,
holding these components in a
state of tension. The central
frame reacts against the “up/
down” forces of the cylinders.
The horizontal elements respond
by bending; the resulting captive
arcs are visible from nearly every
angle.
ANN JON, ELASTIC LIMIT
How do textiles and the human
mind go through strain and
stretch, enriched and expanded
to new forms and thoughts
without breakage, to new
equilibriums, pausing, then
passing beyond the yield point,
the elastic limit, beyond which
small increases in force give big
increases in length and depth?
STEPHEN KLEMA, HOBBES’
CLAW #2
My work uses overlapping and
interlocking stained and painted
wood elements to create images
that visually reduce a complex
form into simpler, more definable
shapes which, together, yield a
coherent figurative form. The
imagery comes from worldly
items—an animal, a raindrop, a
tool. The form is influenced by
the unique properties of the
materials I choose—how they
can be bent, cut, and shaped.
BERNARD KLEVICKAS,
UNTITLED (RED ASSEMBLY)
My piece explores the
transformation of a flat plane into
a curved surface. The panels are
identical in shape and size,
configured to create an
undulating pattern of concave
and convex forms. The tiles are
suspended by a tree-like network
of pipes, with one tile resting at
the base as if fallen like a leaf
from a tree. The sculpture allows
me to delve into spatial qualities
of surface devoid of volume
through waveform shapes.
PHILIP MARSHALL, METRO
This installation is part of a larger
project prompted by my
experiences in London, Tokyo,
and Jakarta. It explores the loss
of individuality in the seething
masses of a great metropolis. It is
inspired by the rush-hour foot
traffic and my impression that
individuals, although often
appearing visually similar, remain
isolated as they purposefully
make their separate, but
intersecting, ways to work.
EVAN MORSE, RHYTON II
My work explores simple
geometries and the interplay of
physical forces. It creates tension
among the trees by suspending a
stone funnel between them,
inviting awareness of the trunks’
scale and the space in between.
Rhyton means a ceremonial
drinking vessel; the work is
inspired by the idea of rainwater
being ceremoniously channeled
to the earth.
MT. EVERETT HIGH SCHOOL,
REMINISCENCE
Can we keep our childhoods with
us, or must we leave them
behind? Are those children still
with us, or lost under life’s
accumulation? What is this
progression from childhood to
adulthood, play to work, hopes to
expectations? The ability to
change, to move forward through
reflection, lies within. It begins
with keeping memories of our
pasts alive. Walk backward within
the spiral, looking through the
layers to what is escaping, hiding,
or waiting.
GARY ORLINSKY, NABIGOS
These simple, elegant sculptures
juxtapose the pure geometry of
the sphere with the gestural
movement of the saplings. The
negative space of these skeletal
forms becomes a dominant motif.
Nabigos is a variety of dark red
cherries.
CHRIS PLAISTED, JACK IS AN
OPTIMIST
This began as a dark piece.
Gnarly black roots that you could
climb above to a brighter place. It
focuses on the contrast of man
vs. nature, or even vs. his
emotional self, using different
materials, with nature as an
added element. I hope the
weather will intensify the various
properties, spin the clouds, reflect
off the globe, drip with rain, to
produce a more dynamic piece.
SUSAN ROWLEY,
STRONGARMED #3
A linear structure outlines a
perforated white geometric. The
rectangle is light, floating, and
precariously leaning, almost
ready to fall. Two legs elevate its
bottom edge, and the curved
“arm” stops it from collapse. The
paradox is the airy appearance
vs. the box’s scale. Will it float or
will it fall? The illusion intensifies
as you look through the
perforations to the surrounding
environment.
ANTOINETTE SCHULTZE,
MOTHER TOTEM
My work stands as a symbol of a
mother’s power, your mother’s,
my mother’s, mother earth’s. The
three center pieces of black
granite gently enfold inward
revealing a silent and empty
opening filled with possibility. The
wrapping soft folds forming the
sculpture’s shape are like rose
bud petals. The white granite top
of the totem sparkles in the sun
and the golden glass evokes the
spiritual, the heart of life.
LEON SMITH, TRIUMPH
Triumph is, for me, a geometric
musical canon. In it I folded, cut,
and arranged the segments or
chords so that they gradually
increase in size to elicit a feeling
of growth and elation.
ROBIN TOST, CHINESE COINS
My work is a traditional quilt
pattern fabricated by alternating
long strips of solid color with
strips of multicolored pieced
blocks. It evokes winter light in a
birch grove. In "Ethan Frome",
Edith Wharton wrote of constant
leaden skies over a grimly
austere landscape. Sometimes a
limpid winter light, like no other,
breaks through the gloom.
ELLEN WATSON, GREEN MEN
My inspiration comes from the
natural world, mythology, and
literature. A recurring motif is the
“Green Man” imagery that
combines foliage and human
figures. Found in many ancient
cultures, it often references
rebirth, transition, and
metamorphosis. I weave all these
influences with my own
autobiographical references to
create work that is about “walking
between worlds”.
JOHN WILKINSON,
RESIDENCE
Figures have long been part of
my sculptures. They used to be
single and often on wheeled
structures to show them moving
through space. Lately, the figures
have become groups, and my
attention is on the spaces and
shapes in-between. Inspired by
The Mount’s country-house
setting, the figures in Residence
are in a building or tower with the
top figures possibly evoking the
maintenance crew.
BERNARD ZUBROWSKI, THE
LONG GOODBYE
My outdoor pieces are composed
of multiple similar parts. When
moved by the wind, the changing
juxtapositions create interesting
kinesthetic patterns. Most of my
pieces do not rotate but rather
oscillate around a pivot point. My
pieces are sensitive to very light
air movements but can withstand
stronger bursts. I observe them
over long periods to see how
they stand up under varying wind
conditions.