2011 Exhibition
Ada Pilar Cruz
Clay, stones, barbed wire, iron
I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms,
nor part of its head—that is where I placed the iron wire.
A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals,
despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken
in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed.
Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation.
This Shrine is about perseverance.
Ada Pilar Cruz
Clay, stones, barbed wire, iron
Ada Pilar Cruz
Clay, stones, barbed wire, iron
I rebuilt this figure, broken in the wood-firing kiln, by piecing the broken clay shards together like a puzzle. I never found one of its arms,
nor part of its head—that is where I placed the iron wire.
A few years ago, another clay figure at Saunder’s Farm was knocked over and broken to pieces by the animals,
despite my attempts at making it safe. I thought it was interesting that my work for this year’s Farm Show had broken
in the process and not yet at the farm—so I pieced it together and placed it where the previous work had been destroyed.
Shrine is placed before an upstanding stone on Saunder’s Farm that already seemed like a place for contemplation.
This Shrine is about perseverance.
Alex Uribe
PVC pipe and metal
Ann Huibregtse
Painted steel 9.5’ x 11’
All That Is is infinitely creative. All That Is designed cows, not just their form, but their insides with four stomachs able to digest grass and the ability to return cud to their mouths for further digestion and rumination. All That Is made them four footed, and gave them necks of a length to reach the grass without stooping.
All That Is made them gentle for domestication, gave them enormous udders to supply milk to humankind, and made their nature forgiving and without guile.
All That Is painted them in many colors, some splotchy, and some the color you’d like your next sofa to be.
All That Is gave them deep voice, and lungs like bellows to send across fields and pasture.
All That Is made them curious, and shy, and not shy.
All That Is made them big and round and bony. Graceful in movement, except in getting down and up.
All That Is spread them over fields and rolling hills, and with them, peace.
Anna Adler
Found branches, rope, twine, papier maché, plaster, moss, mirror glass, cedar shingles, paint, shoes, concrete and mixed media
6’x 4’x 5’
Nestmess is a fantastical shelter; it is an effort to use refuse, to build hastily but with intent. It is an effort to tune in and out of fictional and functional ideas of a haven. The nest comes alive through found and made materials; it is an assemblage made to stand out in the landscape and also a hiding place.
Augie Della Vecchia
(Badminton set, set of jacks, tin can phone)
steel, copper, lexan
Dimensions variable, Racket 32’ long
The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece.
Augie Della Vecchia
(Badminton set, set of jacks, tin can phone)
steel, copper, lexan
Dimensions variable, Racket 32’ long
The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece.
Augie Della Vecchia
(Badminton set, set of jacks, tin can phone)
steel, copper, lexan
Dimensions variable, Racket 32’ long
The farm’s beauty and scale mixed with the sound of children at past receptions inspired this piece.
Joan Bankemper
45” x 12’ x 60’
SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009.
She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC.
Photo by Aleta Wolfe
Joan Bankemper
45” x 12’ x 60’
SOUL is a large-scale site work created at Saunders Farm and sponsored by ecoartspace. The letters are made of multi layers of hay and cow manure; they will eventually become a compost heap making a rich humus that will feed the garden next season. Bankemper has worked on several outdoor installations with ecoartspace including Down to Earth at the Schuylkill Center for Environmental Education in Philadelphia, PA, in 2009.
She has created public art garden projects for Creative Time, NYC; Isabella Stewart Gardner Museum, Boston; Artpace, San Antonio, Texas; and the McColl Center, Charlotte, NC.
Photo by Aleta Wolfe
Elizabeth Mansour Barksdale
PVC, duct tape, wire, and epoxy putty, spray paint
15’ x 15’ x 15’
As a studio artist, I realized years ago that my love of
art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution.
The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully.
Elizabeth Mansour Barksdale
PVC, duct tape, wire, and epoxy putty, spray paint
15’ x 15’ x 15’
As a studio artist, I realized years ago that my love of
art was keeping me from my love of being immersed in natural environments. Outdoor sculpture was the simple solution.
The world became my studio and my gallery. Sculpture Toy was created out of my desire to share the joy of outdoor sculpting and inspired by my children’s love of Tinker Toys. An interactive sculpture, it can be completely re-assembled into a variety of con gurations. I invite you to play artfully.
Curt Belshe/Lise Prown
Digital prints on aluminum with steel and online app
Three 10’ signs
Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed.
The signs mark the location where viewers can see an artwork with their smartphones.
There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined.
In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes.
Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar.
Curt Belshe/Lise Prown
Digital prints on aluminum with steel and online app
Three 10’ signs
Fracktoids is an installation of 3 signs and an augmented reality model that addresses the pending start of natural gas drilling in the nearby New York State Watershed.
The signs mark the location where viewers can see an artwork with their smartphones.
There are many environmental and human health con- cerns associated with hydraulic fracturing. These include the contamination of ground water, risks to air quality, the migration of gases, hydraulic fracturing chemicals rising to the surface, and the potential mishandling of waste. The potential costs associated with possible en- vironmental clean-up processes, loss of land value, and human and animal health concerns are undetermined.
In a 2010 study, the EPA discovered that contaminants in drinking water near fracking sites included arsenic, copper, vanadium, and adamanatanes.
Our Virtual Sculpture can be viewed in-the-round on iPhone 3GS (and higher) and Android phones using the Fractoids layer in the free application Layar.
Richard Brachman
Oak 4” x 4”s, galvanized threaded rod, washers, and nuts
10’ x17’ x 12’
I most often use modular elements, such as wood timbers, arranged in systematic patterns that create a design to suggest imagery associated with the issues I want to comment on. Here I have focused my attention on the environmental need to reduce our heavy dependence on fossil fuels. It is a specific issue that deals with the larger questions of health, quality of life, environmental justice, and the citizen’s right to participate in decision making.
Jo-Ann Brody
Fossilcrete, pigment, foam, steel pipe, tree stump
73” x 36” x 30”
By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother.
I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is
strong, she endures rocklike and stolid. She is defiantly feminine.
She sits alone.
Jo-Ann Brody
Fossilcrete, pigment, foam, steel pipe, tree stump
73” x 36” x 30”
By focusing on the image of the egg, fecundity (how appropriate for a farm), on mass and form rather than the linear nature of my previous work; my woman becomes an earth mother.
I found color and even drawing becoming elements in this piece. Perched upon her tree stump, she occupies the field, she is
strong, she endures rocklike and stolid. She is defiantly feminine.
She sits alone.
Joshua Bupp
Performance
My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity.
Joshua Bupp
Performance
Joshua Bupp
Performance
My work is a physical manifestation of my pursuit of truth. It begins as an emotion and eventually forms into an expression. It is my attempt at understanding, learning, and gaining wisdom. For this piece I interpreted a proverb from the Bible. It compares a young man enticed by an adulteress to a deer caught in a noose until an arrow pierces his liver. I aimed to live that moment in this work by proposing to stand on four stilts as long as I could in my attempt to be the deer. It resulted in the struggle of learning the ruthless lessons from innocence to maturity.
Diana Carulli
Rust-patinated steel
11’ x 5’x 5’
The structures invite touch, sound making, and acrobatics. My work encourages participation.
Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively
know they are the link that completes the sculpture.
Diana Carulli
Rust-patinated steel
11’ x 5’x 5’
The structures invite touch, sound making, and acrobatics. My work encourages participation.
Attachment’s two forms of rust-patinated steel attract more contact and improvisation than previous materials I’ve worked with. It’s as if visitors intuitively know they are the link that completes the sculpture.
Giancarlo Corbacho
Wax, Plexiglas, and wood
The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love.
Giancarlo Corbacho
Wax, Plexiglas, and wood
The Greek myth of the Origin of Love introduces the ancestry of humanity as three races of janus pairs of human beings: the children of the sun (♂+♂), the moonn, (♀+♂,) and the earth (♀+♀). In a foolish attempt to overthrow the gods, the three races initiated the formation of a human tower to reach the heavens, for which they were punished by being severed in two and scattered across the world. From this moment on, each half was cursed to roam the planet yearning to be reunited with the second half giving birth to the notion of Love.
Chuck von Schmidt
Himalayan salt
62”x 8” x 8”
The biblical reference is obvious to us, but the cows just like the taste of the salt.
The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano.
Chuck von Schmidt
Himalayan salt
62”x 8” x 8”
The biblical reference is obvious to us, but the cows just like the taste of the salt.
The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano.
Chuck von Schmidt
Himalayan salt
62”x 8” x 8”
The biblical reference is obvious to us, but the cows just like the taste of the salt.
The industrial process and everyday objects reveal interesting and sometimes abstruse aspects of the human condition on earth. There is often something archetypal in a mundane product that can be uncovered when that object is taken from its usual place and juxtaposed with a seemingly inconsistent setting. The jarring resultis like a chemical reaction; it produces something entirely different from its components. This is why I consider my art to be a form of alchemy. I cannot deny the sculptor’s natural curiosity about materials. This has led me to use everything from salt blocks and silk cocoons to casting molten lava from a volcano.
Stephen Spaccarelli
Mono lament
Site-specific dimensions
The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going.
The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film.
In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me.
Stephen Spaccarelli
Mono lament
Site-specific dimensions
The process of working is like walking. Sometimes I have a direction—a place that I am headed. Other times I am walking simply to walk—to find out where I am going.
The how and why of that experience is documented in the work itself. Questions and sometimes answers find form with paint, wood, steel, words, glass, water, or film.
In the way I trust my feet will take me where I need to go, I allow myself to work with whatever feeling, idea, or material that deeply interests me.
A. Eric Arctander
Oak phone booth with interior oil painting
My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement.
My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School.
A. Eric Arctander
Oak phone booth with interior oil painting
My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement.
My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School.
A. Eric Arctander
Oak phone booth with interior oil painting
My art demarks the significance of place. This beautiful, historic, working farm represents the landscape soul of a great American art movement.
My painted interior of a traditional phone booth is a tribute as well as a 21st century satire of The Hudson River School.
Andy Fennell
Woven Steel
5’ x 6’
My work is concerned with the dynamism of the natural world. Observing processes of action and movement,
my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements
of illusion and chaos while preserving the human form. I have always been interested in the complexities of the figure,
and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates
the emotional capacity and energy of the subject.
Florencia Escudero
String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt
58”x 4’
I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society.
Florencia Escudero
String , enamel , bucket, cement, dried sh , green plastic, cut metal sheets, mop head, torn shirt
58”x 4’
I work with the detritus of consumer culture. A key factor in my work is obsession with the material itself. I am attracted to any sort of material according to certain properties, such as the way something smells or feels, its color and texture.The notion of chaos is always present in the history of humanity, bringing with it the feeling that there is no real control. The moon will rise, the sea will flood, crops grow, and people live and die through it all. I often find myself questioning the reason things hap- pen as they do and have been unable to find a satisfying answer. Ritual is my response to violence and it gives me the illusion of power. I am trying to understand my personal approach to ritual in relation to the history of art and society.
Andy Fennell
Woven Steel
5’ x 6’
My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject.
Andy Fennell
Woven Steel
5’ x 6’
My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject.
Andy Fennell
Woven Steel
5’ x 6’
My work is concerned with the dynamism of the natural world. Observing processes of action and movement, my work reflects organic behaviors and translates those actions into static forms. I focus on the figural, incorporating elements of illusion and chaos while preserving the human form. I have al- ways been interested in the complexities of the figure, and by exploring the possibilities of their movement, my work has evolved into a more abstract study of motion but also investigates the emotional capacity and energy of the subject.
Frank Palaia
3 ’x 5’ x 23’
Solar Lightning is a solar-powered sculpture that simulates an illuminated lightning bolt. The lightning is created with a 23 foot aluminum rod fashioned with yellow El-Wire light, which is a flexible plastic coated fluorescent light. The lightning self-illuminates at dusk and at night.
(c) 2011
Peter Gard
Painted aluminum, steel, epoxy paint
9.5’ h x 7.5’ diameter
My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told.
Peter Gard
Painted aluminum, steel, epoxy paint
9.5’ h x 7.5’ diameter
My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told.
Peter Gard
Painted aluminum, steel, epoxy paint
9.5’ h x 7.5’ diameter
My sculptures are translations. As an artist I am compelled to look inside a form, a feeling, a space, and reveal the layers. Literal representations with shifts in scale, composition or position transform the familiar and create new meaning. Light, shape, use, surroundings, and adjacent materials all play a part in the creation of a piece that will exist harmoniously in its intended environment. My work is created to communicate with viewers in an understandable vocabulary, giving them room to investigate their curiosity with the piece without being intimidated. For me, success is a piece through which conversations are generated, imaginations are sparked, and stories are told.
C. Michael Norton
Plaster, hemp, and tree
Dimensions variable
My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media.
C. Michael Norton
Plaster, hemp, and tree
Dimensions variable
My practice has primarily been painting. My sculpture has evolved to its simplest building materials: plaster, hemp, and an armature of some sort. The 3 pieces that I have built at the Farm Project over the years have brought me back in touch with the physical nature of how a simple stripped-down process of reacting to my materials enhances my practice in all media.
Lea Bolotin
Metal mesh, tree branches, and silk owers
15’ x 10’x 3’
Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life.
Lea Bolotin
Metal mesh, tree branches, and silk owers
15’ x 10’x 3’
Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life.
Lea Bolotin
Metal mesh, tree branches, and silk owers
15’ x 10’x 3’
Ethereal, vibrant, spirited women. Embodying the feminine beauty and fluidity of nature. Standing tall to embrace the elements and oversee the natural juxtaposition of life.
Carla Goldberg
Resin, ink, dye, recycled materials, and found objects on Plexiglas
48” x 24” x 1/2” panels
When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms.
For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs.
I use water as a metaphor for the seasons and phases in our own lives.
Cathedral of the Four Seasons
Carla Goldberg
Resin, ink, dye, recycled materials, and found objects on Plexiglas
48” x 24” x 1/2” panels
When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms.
For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs.
I use water as a metaphor for the seasons and phases in our own lives.
Carla Goldberg
Resin, ink, dye, recycled materials, and found objects on Plexiglas
48” x 24” x 1/2” panels
When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms.
For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs.
I use water as a metaphor for the seasons and phases in our own lives.
Carla Goldberg
Resin, ink, dye, recycled materials, and found objects on Plexiglas
48” x 24” x 1/2” panels
When I was a little kid I thought water came magically from the kitchen sink and collected in swimming pools. I was endlessly fascinated by the weird patterns of light dancing on the surface of water. I am still obsessed with water in all its forms.
For my installation at Saunders Farm, I wanted to create a place for contemplation. A place that feels sacred but is a personal experience for every viewer no matter what religion or God or beliefs are theirs.
I use water as a metaphor for the seasons and phases in our own lives.
Grey Zeien
PVC pipe, paint, gravel
12’ x 12’ x 8’
Photo: © 2011 John Haines. All rights reserved.
Ruth Hardinger
Rope
X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next.
During construction all parts are active—shifting and aligning in response to the whole.
Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm.
Ruth Hardinger
Rope
X, Continuous Draw 5 marks a spot where things divide but are continually connected. All aspects of the intertwined work are bound to the next.
During construction all parts are active—shifting and aligning in response to the whole.
Divided at the intersection, one side of the Xis a clear triangle and the other side frays and folds into an array of smaller triangles and loose ends as its fragment parts entangle and set up new paths. One line travels off-site into denser woods. This work is the fifth tension structure installation I’ve built at Saunders farm.
Tom Holmes
Steel, burnt wood, stone
3’ x 5’ x 8’
The root system that sits atop the steel pedestal was scavenged from Greeley Pond in Pennsylvania, a pond close to my home and studio.
I waited about a decade for the tree root to atrophy enough that I could lift the root by myself. I acquired it this spring. I burnt the piece over an open fire of oak.
There are no other finishes used on the wood. The stone was added to stabilized the weight of the the whole system. The pedestal is steel with a painted finish.
“Ice follows the freezing mark of winter, stone and steel the exterior work space of summer. Spring begins the search for materials and fall settles all debts; emotional, physical and intellectual.” The time of symmetry and space, lingers for those who wait.
Cathrin Hoskinson
Stainless steel and painted wood
13” x 15” x 2” on 8’ base
Several alterations of plans led me to this small boat made of elements used to create a painting of the sky.
The first sculpture I made as a child was a boat—a reproduction of the Queen Elizabeth 1 (this is a long time ago). And my 2010 project at Saunders Farm was based on observations of a restored schooner (the Clipper City) which I often sketch in the NY harbour (captained by my friend Chris Van Ness from Argos days). This piece is loosely based on the Clearwater, which is sometimes docked outside my window in Brooklyn. I like the connection it makes via the Hudson River, winding north to Cold Spring, where it is launched into the air.
Hannah Raine Brenner-Leonard & Kim Macron
Hannah Raine Brenner-Leonard and Kim Macron have been collaborating since 2009. In the performance piece Yes or No, they create an environment encouraging human connection by engaging the viewer in a series of questions. In answering the questions, the viewer becomes a participant in the performance.
Howard Goodman & Carla Rae Johnson
Carla Rae Johnson (wearing a sandwich-board) solicits visitors to “take home a memento of your day at the farm: it’s the ultimate photo-op!” With a large-format view-camera, photographer Howard Goodman clicks the shutter on visitors as they pose against a beautiful backdrop of farm and woods. Each participant is presented an envelope containing their memento/print. They are also given a specific time at which they may open the envelope. (The Obscura process requires seven hours to develop.) A delightful surprise will greet those who wait!
Obscura prints are gifts to visitors. They are free.
John Allen
Stone
John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse.
He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds.
John Allen
Stone
John Allen is still a little known, essentially not-for-profit artist, who lives in the Hudson Valley and does something else for a living. He strives to live without illusions, but will fully indulges in a variety of hopes without remorse.
He is a longtime beneficiary of the unannounced and has a collection (by internal possession) of passing sounds.
Janet Goldner
16 digital photographs
32” - 47” x 12” each
Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali.
Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures.
Janet Goldner
16 digital photographs
32” - 47” x 12” each
Wealth in Africa is the beginning of a new series that is part photography, part public sculpture featuring sixteen laminated digital photographs attached to trees. The photo-graphs focus on the renowned potters of Kalabougou, Mali.
Inspired by my deep continuing association with Africa they aim to highlight the richness of Africa– its people and its cultures.
Jim Thomson
As the poem reads, ”I never saw a purple cow, I never hope to see one. But I can tell you, anyhow, I’d rather see than be one.”
Jodi Carlson
Aluminum
7’ x 4’ x 3.5’
I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“
I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have.
I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures.
Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood.
Jodi Carlson
Aluminum
7’ x 4’ x 3.5’
I envisioned Facets (2011) as a large abstract vessel created with faceted planes. People often ask me, “What did you want this sculpture to be?“
I usually allow my work to evolve organically, using myself as a craftsman who exposes the form a sculpture is meant to have.
I am often drawn to Frank Gehry’s work, appreciating how he has pushed metal to billow and zigzag into giant functional structures.
Facets reflects that appreciation in the creation of a sculpture that is essentially “Jodi,” in a Gehry-esque mood.
Johannah Herr
The artist presents a ritualized endurance performance in which she repeatedly constructs and deconstructs a dwelling inspired by the Mongolian ger. She uses lightweight materials such as nylon and bamboo that can be transported on her back from one location to the next.
Thom Joyce
Stainless steel and copper
This year’s piece, “Music in the Fields,“ combines my love of music as well as my passion for manipulating metal. My art comes from my love of those parts of my life that I hold dear and of special importance. I wanted to do something that celebrated my involvement with Collaborative Concepts—providing the musical part of the events—and the location lent itself to the piece being a nice backdrop. It is a happy accident that the hanging made it seem to represent the music leaving the stage and drifting through the fields.
Justin Allen
Printed no parking signs
Justin Allen
Printed no parking signs
Elena Kalman
Crushed glass
10’ x 4’
Ice Pond in August, a site-specific installation, asks viewers to resurrect childhood expectations of small miracles.
Could you find a frozen pond amidst green grass and wild flowers?
By excavating a shallow ditch, filling it with crashed tempered glass, covering it with Plexiglas sheet and concealing the edges with grass, moss, stones, dry leaves, and wood branches, I made the shape look natural, with ragged edges. The elongated stone running across the Pond acts as a bench for rest, observing nature, and meditation, in a quiet spot with the best view of the Hudson River. Visitors coming to admire the river view, stumble on my hidden installation. The element of surprise is essential to discovery of the unexpected.
My installation challenges notions of natural and artificial. It deals with ambiguity of materials and a willingness to go along with visual trickery in order to see the impossible. It seeks to find a new way to place art in a natural setting.
Dana Kenn
PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images
My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette.
Dana Kenn
PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images
My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette.
Dana Kenn
PVC pipe, rubber and plastic tubing, plastic Mylar covering, plastic spray / stenciled images
My entry this year honors our beloved Cows and is Intended for them to rub against and jostle around at their leisure. In past years, the Cows have been some of my biggest fans, standing around and watching me install my pieces, and often interacting with them. I thought it would be nice to give them something to knock around the pasture, as well as a comment on street art in our farm setting...hence the stenciled cow references. The cubes are like Cow-sized children’s toy blocks and have a flexible frame and weather-proof surfaces. Each has a light-weight solar sensor inside to give off an evening glow into the night, and render the painted images in silhouette.
Mikyung Mikki Kim
Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes
40’ x 36’ x 7.5 ‘
As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother.
Mikyung Mikki Kim
Aluminum rods, clear vinyl tube, wire, chimney caps in stainless steel, chimney pipes
40’ x 36’ x 7.5 ‘
As a city girl, I set up a rooftop site on Saunders Farm for this site-specific installation. By using the stainless steel chimney caps and pipes, I made a vent for viewers to be able to feel the breath of Mother Nature from underground. The clear vinyl tube represents the human being’s connection to Mother Nature by an “umbilical cord”, detached from but still hanging around Mother.
Bernard Klevickas
Auto paint on aluminum and polished stainless steel
8’ x 6’ diameter
The sheets were formed in a hydraulic press into compound curves. Each form was pressed between the other larger forms to repeat the curves. My desire as an artist is to create something unique and unfamiliar out of utilitarian industrial materials and methods. The curved reflective surface can call to mind automobiles or liquid and the stacked open-form design of repeated shapes can be thought of as progressions upward or downward and mimicking the curve of the landscape and of a serial quality similar to Donald Judd’s stacks. The formal and the organic meet.
The Ladies’ Auxiliary
Flags, flagging tape, and safety vests
The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential
threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are
at your service.
The Ladies’ Auxiliary
Flags, flagging tape, and safety vests
The Ladies’ Auxiliary collective is interested in acts of service and futility. Not only is your comfort their problem, but so is your safety. Pasture Eyes is this year’s effort to aggressively assist guests in enjoying their day at Saunders Farm. Wearing matching safety vests, the Ladies scour the pastures, flagging and roping-off potential
threats such as cow pies, water hazards, dangerous vegetation, and un-even terrain. Sometimes people need help, even if they don’t want it. As always, the Ladies are
at your service.
Roy Staab
Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree
28’ h x 32’ diameter
Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows.
Roy Staab
Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree
28’ h x 32’ diameter
Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows.
Roy Staab
Long-stemmed weeds: phragmites, reeds, mugwort, goldenrod, Queen Ann’s Lace, loosestrife. tied/bundled with jute on large oak tree
28’ h x 32’ diameter
Lady Oak re-contextualizes the beauty of this white oak tree. In a way it mimics the canopy and the root system perimeters and emphasizes the thrust of the trunk up the tree. Each line is attached on top to a branch or trunk that is open to the ground. And at the ground the ring is evenly measure out from the trunk of the tree. It is made from invasive and over- abundant long-stemmed weeds from the farm and near by. The cows have not eaten it yet (two weeks later); if they do, bon appétit to the cows.
Larissa Killough, Rick Prol, Fred Stesney
Canvas, chicken wire, acrylic, enamel, thread, discarded technology
30’ x 9’
#twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram.
Larissa Killough, Rick Prol, Fred Stesney
Canvas, chicken wire, acrylic, enamel, thread, discarded technology
30’ x 9’
#twittosaurus is a prehistoric creature embracing current technology & sharing his/her wisdom and observations with today’s creatures via various social media outlets: twitter, facebook, instagram.
Nina Lichtman
Wood, paper, cardboard, shellac, paint
6’ x 4’
I created a three-headed person that I had a dream about. The number three has played a big role in my life; I have three sisters, three cousins, three scars, have dated three boys named Adam, the list goes on and on. In Greek mythology there was Cerberus, the three-headed dog that guarded the gates to the underworld, and Hecate the goddess who guarded several crossroads at once. In Slavic mythology there was Triglav, a man with three heads so he could rule three kingdoms. In my mind the creature I created guards the sky, the middle, and the ground.
Lisa Breznak
Polymer cement, plywood, polystyrene, paint, metal, varnish
76” x 51” x 16”
On previous visits to Saunders Farm, surrounded by the lush and varied plant life, I began to notice the distinct presence and personality of different plants. This piece is a portrait of one of these individuals and is part of an ongoing series entitled: The Secret Life of Plants.
I often feel the plant world is teeming with energy and activity that is always there but few of us take the time to see. I’m inspired by the tenacity and resilience with which plants break through asphalt or stretch through debris to get to the sunlight. How they seem to enjoy the breezes and rain or turn with a face-up pleasure to follow the day is inspiring. My sculptures tell their imagined stories, and I give each an obvious body language to express it.
This piece illustrates my belief that plants, as they sway in the breeze and turn to catch the sun, are really performing a display of joyful energy unnoticed by most passersby.
Gold is used here to make the plant form an object of contemplation in a space where the actual plants maybe taken for granted.
Jim Lloyd
Variable 7’ high within 15’ square
The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has?
Jim Lloyd
Variable 7’ high within 15’ square
The process of ferrosynthesis is not necessarily immediate in its results. Here we have three attempts at becoming a cube. One is quantum mechanical and visible at femtosecond time frames, almost making it, but the uncertainty in the placement of the nearly identical wave functions precludes perfect cubism. Another is starting from the 3-fold symmetry of cube corners with another corner emanating from within, but frozen in process. Whereas the last is an attempt at a face-centered cube with only one face so far formed in an imperfect frame of reference. It is doubtful they will ever make it to a perfect ferrocubist state, but then who has?
Marcy B. Freedman
An Interactive Performance
In order to commemorate the twenty-fifth anniversary of the death of her mother (Bernice Gunn, 1914 - 1986), the artist engages members of the public in a game of “look and seek.” Participants select a shade of green from a color chart and then explore Saunders Farm to find a match for this color in nature. When they bring their discovery (a blade of grass, a leaf, a moss-covered stone, etc.) back to the artist, she shares a story about her mother – a story that was the motivation for this particular “green” project.
John Martin
Bamboo, metal, paint
35’ tall
Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course.
I have always been inspired by architecture and sculpture – espec
John Martin
Bamboo, metal, paint
35’ tall
Red on White and Blue is intended to be evocative of the American flag – the 7 red bamboo stalks symbolizing the 7 red stripes. The height of the piece allows for the white and blue to be provided by the sky. Although I feel hope and pride in our flag, and our country, by keeping the red alone in the piece, I am expressing the anger which many of us feel about how our country seems to be so far off course.
I have always been inspired by architecture and sculpture – espec
Mick McGuire
Plastic tubing, broadcast video tape
3’ x 3’ x 8’
Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them?
Eventually they are returned to their origins.
This piece represents the return of my commercial sample reels to the earth.
Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece.
Let the river breezes blow them back to where they came from.
Mick McGuire
Plastic tubing, broadcast video tape
3’ x 3’ x 8’
Most of us spend our lives collecting images captured in some form; photographs, snapshots, videos, artwork—all images in some format. What ultimately happens to them?
Eventually they are returned to their origins.
This piece represents the return of my commercial sample reels to the earth.
Samples of nearly 30 years of images I have created in 3 generations of broadcast tape were used to create the piece.
Let the river breezes blow them back to where they came from.
Michael A. Natiello
Mixed media
12’ x 3’ x 2’
Michael A. Natiello
Mixed media
12’ x 3’ x 2’
Michael Poast
Paint on steel
9’ x 4’ x 3’
Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation.
Michael Poast
Paint on steel
9’ x 4’ x 3’
Steel sculpture and installation have been avenues I’ve pursued in the language of 3-D since I took my first sculpture/welding class. Coming from a classical music background, I am also a composer and use brilliant visual color to compose my scores. Muse IV is part of a series of steel, split I-beam sculptural compositions that evoke the muses of Greek mythology, symbolizing music, art, poetry, dance, philosophy, etc. Muse IV symbolizes poetry. Stylized cuts down the middle of the I-beams come from studies of zig-zag shapes that have always been an influence on my work, and my interest in ancient scripts, Native American Indian art, natural branching patterns, and music notation.
Cassandra Saulter
Tulle, clear vinal, sticks
4’ x 13’ x 13’
The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist.
Cassandra Saulter
Tulle, clear vinal, sticks
4’ x 13’ x 13’
The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist.
Cassandra Saulter
Tulle, clear vinal, sticks
4’ x 13’ x 13’
The nest series began in 2006 with the first Saunders Farm Project mounted by Collaborative Concepts. Mixed media and painting represent my lifetime as a working artist. At present, however, I am dedicated to repurposing recycled plastic. My work has taken a turn to an environmental perspective. My summer 2011 exhibit entitled Light Whisperer was the showcase of 18 pieces of re-purposed plastic. The nest series for the Farm Projects were the key to the shift into 3D art making. My new mission is to change the world one plastic bottle at a time. My work is on facebook at Cassandra Saulter Artist.
Sheilah Rechtschaffer
1/2 inch double braided rope and recycled house paint
½”x100’
This tree is seventy-three. Same age as me.
This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds.
Photos © 2011 John Haines. All rights reserved.
Sheilah Rechtschaffer
1/2 inch double braided rope and recycled house paint
½”x100’
This tree is seventy-three. Same age as me.
This tree is a Pepperidge Bettlebung (Nyssa Sylvatica) - a Black Gum Tupelo found throughout the Eastern U.S. Its wood is light and soft but tough. The leaves are shiny green and turn bright red in autumn. The bark is dark gray and flaky when young, and becomes furrowed with age. The flowers are small and later the fruit is an important food source for migrating birds. Trees are the lungs of the world. We all need good lungs in order to live and endure a million assaults on our natural world. Saunders Farm is a protected property and this tree may outlast me, but maybe not. Nothing is certain. I like wrapping seventy-three coils of rope around the tree. It is a rather ordinary tree but it becomes unique to me. It has become my friend. It makes me feel I want to protect it. Then I think I want to protect everything I see, to keep it safe so it can keep feeding the birds.
Photos © 2011 John Haines. All rights reserved.
Rieko Fujinami
Photomontage on film, mounted on acrylic plate, clear resin, wood
48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces)
I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source.
Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”.
Rieko Fujinami
Photomontage on film, mounted on acrylic plate, clear resin, wood
48” x4 8” x 36” (12” x 9” x 1” each of 8 pieces)
I often think about artwork using light and shadow as media. The Saunder’s Farm project is a way of taking that idea outside and using the sun as the light source.
Japan has a summer custom called “Bon” in which the people make a small fire at the gate on the first evening in early summer to welcome back departed souls, and then another fire in late summer, at the end of “Bon”, to send the souls back to the other world. For my sculpture I reconstructed a photo-montage work, Darkness for Rebirth as a series of small acrylic crosses, like a small fire for “Bon”.
Herman Roggeman
Bailing rope, steel base
8’ x 8’ x 4’
For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance.
Herman Roggeman
Bailing rope, steel base
8’ x 8’ x 4’
For this sculpture I wanted to create an organic piece. It is also eco-friendly as I used more than a thousand recycled baling ropes for hay. The result is tribal figures with a strong linear appearance.
Sarah Haviland
Aluminum mesh, steel, wood, paint, mirror
53” x 43” x 15”
Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct.
Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by.
Sarah Haviland
Aluminum mesh, steel, wood, paint, mirror
53” x 43” x 15”
Passerine refers to a perching bird, most often a species of songbird. My installation for Saunders Farm continues a sculptural series inspired both by birds and the meaning of mirrors— as images of the soul, visionary perception, and sites of human projection or observation. While Passerine’s blue-green colors derive from Dürer’s nature studies and the lichen on tree bark, its materials of steel mesh, wooden furniture, and glass speak of human construct.
Bird or spirit, an evanescent figure hovers in the shade of a mountain oak, a mirror to witness landscape, wildlife, and passers-by.
Fred Schlitzer
Copper
7” x 10” x 40”
My creative focus is open to all types of materials. I am passionate about being a lifelong student of new methods to create art. Prevailing influences in my artwork include themes of nature, landscapes, and whimsy. My style is expressionistic, representational, and abstract.
Kevin Stapp
Branches and rope
approximately 40’ x 15’ x 23’
I want to use what’s here.
My piece is made up on the farm from materials around the fields. The work is in progress.
Flood Aftermath; RebirthSusan Buroker
This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life.
The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope.
Flood Aftermath; RebirthSusan Buroker
This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life.
The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope.
Susan Buroker
This installation was inspired by the recent flooding in the Midwest, when one of the flood victims gave the artist a detailed oral history of the devastation and destruction of life.
The flood water moves taking everything in its path, houses, lives, and trees. As it moves past the fallen debris, the remnants of people’s lives collect to create a nest around the roots - the ebb and flow of life.A woven figure created out of tree limbs, FLOOD AFTERMATH; REBIRTH, stands in the landscape showing the human determination to survive. The base of the tree metaphorically holds on to and gathers every piece of life. The green vine growing from the center of the sculpture represents rebirth, the renewal of hope.
Naomi Teppich
Ferro-cement, steel rebar, steel mesh, copper
9.5’ x 7.5’ x 7.5 ‘
Euphorbia is a representative of a large cactus growing in an unusual climate for cacti —in Northeast United States. The viewer may ask why is a cactus growing in this colder climate ? Could it be that climate change has affected where this plant would normally be found?
The sculpture was built in four sections . The three lower sections are hollow and form the structure of the work and are made of rebar armature and colored cement. There is some embedded expanded steel covering the top part of these sections. The very top section is made of rebar and copper and connects the three other bottom parts . This represents the blooming part of the cactus. This sculpture was previously exhibited at the 2007 Kingston Sculpture Biennial.
Robert Van Winkle
The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel.
Robert Van Winkle
The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel.
Victoria Duffee
Cast concrete, mortar, wood
54” x 75” x 30”
This piece references various examples of the sarcophagus. In this case however, the figure is removed and the bed is familiar.... It’s meant to stand as an invented ruin; over time it will crack and dissolve. This is the first piece of a series of sculptures in which every object that can be found in a motel room is recreated in cement.
A lot of my work deals with figuring out “Where is the Icon?” and the understanding of deterioration from there.
Genevieve White
For this durational sound piece, the artists presents the idea of sound as a structural element crossing over the border of being a sculptural function to a vibrant activity. Sound and ritual endurance will be the main components of this piece She wears a costume made out of one hundred spoons. She kneels down in a ritualistic way, taps a brick with a spoon. In this 3-hour performance the artist explores the connection between ambient sounds on the farm and mechanical sounds.
Eva Whorley/Bovine Divan
Repurposed/recycled wood, metal, batting, pleather, and salvaged umbrella
7” x 3’ x 4’
Bovine Divan was created with the intent of having people interact with it. It is designed to be easily moved and sat upon to view the other art works on the farm. The umbrella is to add to the comfort of the sculpture and viewer. Bovine Divan was made of reclaimed and reused materials and designed to blend in with the herd as so many of us do.
Max Yawney
Acrylic paint on carved wooden pole and vinyl
panels with wood supports
15’ x 18’
This project titled Totem Pole Typewriter continues my work with diverse imagery. The interest is in the choice of distinctive qualities presented, similar to the distinction between notes in music scores. This method resembles our perceptual process of discerning the distinctions between everything around us in a continual stream. The poetic nature of all recognizable differences between a painted typewriter and a totem pole functions as the subject matter here.
Yen-Hua Lee
Branches, paint, lath
27” x 84” (each)
White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans.
Yen-Hua Lee
Branches, paint, lath
27” x 84” (each)
White-colored branches and lath were used to “draw” a sculpture. Its purpose is to explain the relationship of humanity to nature: branches provide the framework for the tree in the same way that bones provide the framework for humans.