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Lizzy Fox Shannon Schmidt M. She studied sculpture and marble carving in Florence and Carrara, Italy. Colletta Verticale is a hollowed out cube of Danby marble that is plugged with giant carved wooden toothpicks. This sculpture is the third and largest in the series titled Collettiva that continues my exploration of combining marble boxes and wood toothpicks. I selected native Vermont marble and wood because of its quality and also to display the natural beauty and industry of the state.

The simplified form is related to the human body while intentionally leaving ample room for interpretation. The collection of toothpicks may simply be enjoyed for their visual interest or interpreted as an examination of the concept of the multiple, group or gathering. The large-scale and multitude of toothpicks jutting out Online Pokies at various angles energizes the surrounding environment.

This provides a new space for individual or group interaction with the sculpture and altered landscape. The shapes and Pokies Bonus Expeditionary Forces that we all draw while talking or daydreaming in class have been my subject for the past several years.

I am moved by these drawings for their unselfconscious quality and mystery. The doodles could be cryptograms, geometric diagrams, or pictographs from another civilization. At their heart, however, they are very human marks, not necessarily elegant and usually offhand.

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For me, these symbols are a joyous and mysterious language that is both deeply personal and universal. My installation at the Black Cap Cafe features fragments of doodles created by frequenters of the cafe and artists at the Vermont Studio Center.

A window of the cafe is festooned with vinyl recreations of some of these doodles, magnified many times larger than their original sizes.

The open porch of the cafe features another of these dynamic shapes laser-cut from MDF board, then painted with acrylic.

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The antic, often humorous, designs draw attention to the human need to make a mark. During her first years in Vermont she worked at the Vermont Studio Center as their Sculpture Technician, and now teaches a course on jewelry and small metals at Johnson State College, where she is the Coordinator of Campus Arts.

She loves working with people, and currently lives in Underhill with her husband and two-year-old son. Bandar has come to believe a passion for sculpture can reveal magical and unexpected paths.

To make these three pieces, I asked myself, How can a sculpture become a "signpost" returning us to nature? I wanted the Real Money Pokies Jim Carrey to be tall, so I used 2x4's, 2x6's, and screws.

I left the centers hollow. Using Fibonacci's ratios, I marked the pillars and decided where to put the openings. I worked with an electric chainsaw and hand chisels until the form emerged. I used fire from a propane torch to smooth the surfaces, and bring out the wood grain.

Words came to mind only at the very end. I call these pieces "totems" because they reflect a message that could be passed from one generation to another. The viewer constructs the story. He lives and works as a landscaper and artist in Casco, ME. Cut is a site-specific installation consisting of a 6-inch wide by 8-foot high clearing through the woods. All material within this area—including branches, leaves, and shrubbery—will be removed, creating a narrow sightline, and the ground will be covered with a 6-inch strip of red mulch.

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The woodland will be allowed to re-grow at the end of the exhibition with the mulch left in place to eventually become part of the forest floor. Scott Boyd has been working in various media, including wood, marble, steel, and bronze, since He lives and works in Stowe. So to thee light by darkness is made known: Since God hath none, He, seeing all, denies Himself eternally to mortal eyes. From the dark jungle as a tiger bright, form from the viewless Spirit leaps to light.

Ethan Bond-Watts received his foundation in art through an apprenticeship with American glass master Alan Goldfarb in Burlington. At 19, Bond-Watts was promoted to "gaffer," given his own furnace, bench and assistant.

He continued his studies of glass art in Venice and Seattle. InBond-Watts began producing his own lines of art glass and public installation sculpture, including Emergence, an architectural-scale blown glass installation at the University of Vermont student center. Five years later, he graduated magna cum laude from the Environmental Program at the University of Vermont.

His current work applies mixed media sculpture to explore environmental concepts. A steel armature gives structure to a living sculpture whose ecology adapts to its site. Reflecting the green roof and living wall movement in architecture, Seed offers the viewer a consideration of growth, form, ecology and place.

This sculpture's softened lines and dynamic flesh create a visceral contrast to its built environment, while its formal reference to nuts and seeds indicate a latent vitality on the scale of landscape. It is intended to reveal the inexorable connection between living thing and place, and to conjure an essential biophilic human response.

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Cody James Brgant makes art using the disciplines of photography and sculpture. His work has been displayed in and around Burlington, VT and Montreal. Currently he lives and works in Brooklyn. Tree Cubed Growth vs.

This installation is part of an ongoing project where I transform natural materials such as branches, trees, or flowers by casting a sculptural cube of concrete around their base. In Tree Cubed, I worked with a live tree, in situ, and constructed a four-foot concrete cube at its base, where the trees' trunk emerges from the middle of the cube.

Juxtaposed, the natural born tree and manmade concrete cube offer contrasting characteristics in material, form, process and ideology.

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His work has been acquired by many private collectors and shown in several one-man shows. He has taught landscape drawing, figure painting, and two and three-dimensional design. His work embraces process, the poetry of form and formal relationships. First Light As written in Genesis 1: God saw that light was good, and God divided light from darkness.

The gold ball first light approximates the size of the known universe at this moment. He also calls this 'God's hiccup'. The First Light of the known universe. The piece, First Light, is part of a series of four sculptures: These represent my manifestation into sculpture of theoretical physics of the unknown and known universe. Jim Coates lives in southern New Hampshire, where he maintains a studio.

His environmental sculpture, installations, objects and drawings have been exhibited nationally, and he has received individual artist fellowships from the South Carolina State Arts Commission, Massachusetts Council on the Arts, and the New Hampshire State Council on the Arts, which recently designated him as a Lifetime Fellow. The Stowe Dream Ladders creates a mystical place for contemplation. A ladder usually leads to something specific—e.

In this installation, however, I placed precarious ladder forms that simply reach into the sky. I think of them metaphorically as dream ladders and portals. The rungs of the ladders shift direction as if cobbled together with one's own life turns and experiences, providing an opportunity for reflection. I have always been interested in shelter forms primitive, modern and contemporary and their relationship to the natural environment.

Intrigued by the formal shape that these structures often take, as well as by their simplicity and proportions, I use natural materials to focus on the ephemeral and fragile qualities found both in nature and our built environment. The woodland forest continues to guide my studio practice. Born inhe lived atop rocky Mt. Mansfield in his preschool summers, developing an early affection for stone. Carving came later, under the direction of Paul Aschenbach at the University of Vermont, where he combined studies of art and science, graduating in But when we trade our connections with the natural world for more connections with the digital world are we really trading up?

This simple sculpture, easily decodable as an oversized throwback to a childhood puzzle, transforms an ordinary boulder into an object of contemplation. It is somewhat ironic that the sculpture is made possible by the very technology it is meant to critique.

Catherine Evans is based in the Boston area. Her art deals with the repurposing of common objects; transforming everyday materials into the powerful, the unordinary; stretching preconceived notions of the limits and boundaries connected to that object.

Multiples are an important part of her work. Repetition of process is also paramount, building connection between the art and her as the maker. Often, her creations embody the multitasking required in doing work in a woman's life—repetitive braiding, knotting, tying as a way of fixing, maintaining and being.

This installation, Thistle, is a tribute the importance of trees in our lives. It is Pokies Big Red Y Sculpture Of David on a piece I created for an ancient apple tree in my backyard. In making such a sculpture, the circumference of a trunk is measured and a band is created especially for that tree. That project involved Thistle bands on nine trees throughout the park. In Worcester, I realized the celebratory appropriateness of both the bright pink color and form.

The Long Horned Beetle infestation had forced the removal of 28, trees, leaving both parks and people devastated. I have taken this celebration of the tree project forward to other areas. Gray could never decide what she wanted to be when she grew up. Consequently, she wears multiple hats, usually Pokies Winner Group Colombia at a time, but sometimes is required to stack them atop each other.

Fortunately, she likes hats! When she is being the boss of herself, she spends her time designing edible landscapes; creating willow structures; and doing graphic design, illustration, painting and various fiber crafts.

She is devoted to everything old-fashioned.

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