Jan Chenoweth
Chattanooga, TN

“Basket in Open Space #4”
steel, fiber-reinforced cement, cement pigments

My work is a response to the way I see and experience the world around me. The lushness of colors, textures, and shapes are more visually appealing in fragments than as complete forms. Tactile qualities of surfaces are equally as important as are rich, juicy colors; subject matter, or perceived subject matter is incidental.

Mark Clarson
Chicago, IL

“Las Carpas #4”, bronze

Clarson primarily works in sculpture using cast bronze and cast aluminum to depict a series of pseudo-historical narratives.  His most recent body of work is centered on his interest in nomadic-mysticism as featured in the Mexican tent circuses of the mid-nineteenth century known as Las Carpas.  In this series of work, he depicts fictional characters of the Las Carpas in mythological narratives loosely based on historical texts from the period. His interest in the 1960's counterculture "hippie" movement is also referenced through symbols and vehicles from the era loosely infused with his mythological performers of the Las Carpas.

Joshua Coleman
Cleveland, TN

“Sitting Tall”, fabricated steel

Through commissioned works in the public realm, Joshua strives to capture the themes and emotions of others in a pure and honest view. All aspects of his work speak in symbolic, yet lucid ways. Joshua enjoys creating art that inspires interaction from viewers. He hopes to encourage others to see beauty in the simple, unnoticed things of everyday life.

Sitting Tall takes on the whimsical, playful idea of sitting above one’s common, everyday view. The sculpture encourages interaction and inspires the concept of seeing elements from a different perspective.

Chris Fennell
Birmingham, AL

“Barnwave”, wood

I build architectural skeletons from discarded objects. The elements in the structure swirl about a center and lean forward. The materials I use have been cast out by society,
for example: demolished barns, broken bicycles and downed trees. I transform these objects into dynamic pieces and connect them into recognizable shapes of waves, tornados and pillars of fire. My work is site specific, taking advantage of the surrounding landscape and architecture. I place the sculpture for the maximum effect of discovery and scale.

 

“Redstone”, steel and reinforced concrete

My present sculpture is strongly influenced by the megalithic stone constructions that existed in many parts of the prehistoric world but most specifically those found in the British Isles, France and Ireland. I am drawn to these structures not only because they are some of the earliest large scale sculpture and architecture but also they continue to have a strong impact on the modern viewer. They are a real part of our mysterious Neolithic origins and continue to fascinate us. For many, including myself, they initiate a strong emotional response.

Hanna Jubran
Grimesland, NC  

“Rising Sun”, stainless steel and cast bronze

If a goal is sought either consciously or unconsciously in the form of a work of art, one must solve innumerable problems and make innumerable decisions in order to achieve that end. One of many decisions I have made is maintaining and preserving the natural quality of the materials I work with. My work addresses the concept of time, movement, balance and space. Each sculpture occupies and creates its own reality influenced by its immediate surroundings.

Keith Lambert
Beaufort, NC

“Moon over North River”, marble

I am in search of an inner purity and strength though which all decisions regarding form are spontaneous and somehow follow a natural sequence. I enjoy working back and forth with different materials, each one having its own specific quality.

I find sculpture to be a constant source of discovery and nothing is more exciting than to create a form of marble, clay, or wood, and watch it grow. I am concerned with balance – how shape relates to weight and size and am also concerned with how these objects assemble together. I enjoy playing with scale, taking a difficult medium  and giving it a twist. Just taking a single block of stone and carving it is not my “cup of tea.” I must have many individual forms and relate them together into one. I work directly upon pieces, with few preliminary sketches. Sculpture to me is a plastic relationship of form, space and materials.

Duke Oursler
Statesboro, GA

“Foos”, stainless steel

I work directly from my intuition to create piece that are often large in scale. My work is a direct response to an event, issue, idea, or situation. The work “Foos” derived from wanting to know the speed that foosball player could kick a ball if it were on a human scale. If it were possible to achieve this scenario the player would kick the ball 600MPH. At the players’ original three inch scale it can kick the ball 25MPH.

I greatly enjoy the process of making a piece, and the personality that the piece develops through its fabrication. I try to let the work create its own aesthetic and evolve in a natural and free way. Often, at the completion of a new work, I have a period of rediscovery and always find some new way that the piece speaks to me.

John Parker
Glenside, PA

“Swallowtail II”, steelplate

My sculptures have evolved out of a life long interest in nature. This interest spans the field study of insects and fascination of dinosaurs, to exotic flowers. I have combined nature with steel, in giving heavy industrial materials a living, animated presence.

Liz Vercruysse
Herman, NE

“Pod Forms as Icons”, wood fired stoneware

For me, the pod is a form full of potential and curiosity. A pod as we know it is, after all, a shell in which life gestates like a cocoon, a seedpod, an egg, and even a womb. The thought of this nurturing happening within such a basic form is an inspiring idea as it delves into the unknown.

Adam Walls
Red Springs, NC

“Toy Defense”, painted steel and school bus tires

All of my sculpture is concept driven and is commonly highly viewer interactive.  The work’s conceptual nature is usually derived from some memory that was stirred by the shape of some found object, or from some memento that I have held onto since childhood.  These things bring up thoughts and experiences that challenge me and guide me through the creative process.  My sculpture does range in size drastically at times, but I do tend to prefer to work on a monumental scale. 

            There are interactive elements in much of my work that are often derived from my love of fantasy, escapism, toys, comic book superheroes, and pop-culture icons. Toy Defense is meant to invite the viewer to sit on or inside of it as the sculpture offers defense, or simply a place to escape to.

Gavin Weber
Davidson, NC

“Odyssey”, steel

Odyssey contrasts solid planes with portals, acting as a metaphor for visualizing and experiencing, raising questions about the perception of truth, the ambiguity of being versus not being.