Charles Ginnever is known for his geometric sculpture, which elicits transformation through the shifting of shapes during active viewer participation. Oxbow precedes Ginnever’s lifelong geometric oeuvre. In this piece, Ginnever assembles found wood and steel and has abandoned a base altogether. This work exemplifies a departure from the tradition method of creating sculpture through modeling material and placing the final work on a pedestal.
Bronze with Polychrome Patina
Whenever Possible is an assemblage of a deer, coyote and owl upon which are drawn, or tattooed, images. By using the form of the animal, Rude’s work becomes less intimidating; allowing the viewer to enjoy the simplicity of nature or dive deeper into the work’s story or underlying meaning.
Bronze with Patina
Deborah Butterfield has used the image of the horse for her entire professional career. the horse began as a self-portrait and feminist statement but has since evolved to convey gesture and emotion. Derby Horse was Butterfield’s first edition in bronze, though the piece is created to look like rusted, found steel. With the slight tilt of the head, the horse manifests the emotions of triumph, grace, and respect that is attributed to the race horse.
Randall Shiroma, a native Hawaiian, is a sculptor whose work is generally abstract in form. The essence of his work focused on a connection with the earth and the elements. Untitled is a composite of organic materials that is able weather the elements. Its form is grounded to the earth and is reminiscent of a rock formation. The central void invites the viewer into the work, asking: is this hole a shelter or the center of the universe?
Column with Rock and Ax was cast in an edition of three, this sculpture is unique in the edition as 48” were later added to the column to make it more elongated. The Solomonic column, attributed by its spiraling corkscrew-like shaft, came to Dine in a dream. The placement of the rock and ax on its apex further demonstrates the surrealistic, dreamlike, imagery.
Bronze with Polychrome Patina
Into the Calm, II combines Western and African species of animals with natural and manmade objects in a ferris wheel-like circle. At its center is a vessel. The wheel can be a representation of many ideas: the circle of life, where east meets west, or man meeting nature. Rude allows the viewer to explore the piece and find personal meaning. The central chalice may symbolize life, mother nature’s womb, where all creation begins.
In 1980, Robert Arneson began to cast in bronze for the first time in his career with the aid of the Walla Walla Foundry. Self Portrait (1980) is his inaugural bronze. This sculpture is a sober and realistic representation of Arneson. The artist explains that he chose to use himself as a model because he was the “easiest person to abuse without offending.” His portraits are less about rendering self but rather using his identity to convey a greater message.
Hope is a small, delicate and emotional sculpture. With its head bowed in reverence and the light color of the sticks, it projects a sense of peace, hope and sadness. This sculpture was created as a gift for the artist’s dying friends.