The 2019 Sculptures
Peter Krsko, Wonewoc, WI — “Arbori”
This site-specific composition builds upon his previous studies of relationships between humans and nature. The conflict within this sculpture arises from the combination of the cubic lattice that divides the space into regular pattern and the organic tree-inspired topography of the outer boundary. The lumber material will start as bright yellow pine and with time will slowly change into grey. The sculpture is partially inspired by the architecture at each installation, and was built on site at Monona Terrace.
Luke William Achterberg, Onalaska, WI — “Baculus”
Baculus explores relationships between fine art and the artist’s experiences in subcultures of Americana, namely automotive customization, graffiti, comic books, skate/snowboarding, and street art. Achterberg continually plays with balance, both physical and aesthetic, creating a visual smoothness or sleekness, what he calls “Super Sleek.”
Michael Young, Chicago, IL — “Terning”
Young works with hardy materials like aluminum, bronze, and stainless steel transform transitory moments into timeless sculpture. His abstract style aims for emotional connection – harmony, growth, energy, and unity- while remaining personally meaningful to each viewer. From a sapling bending in the wind to a friendly exchange between old friends, his work reflects the interconnection of environments.
John Himmelfarb, Spring Green, WI — “International Leader”
This work is an evolution of the artist’s 50-year fascination with the way people make marks to communicate words when speaking them is not an option, as in the case of hieroglyphics, pictographics, and petroglyphics. This very rectilinear style reflects Himmelfarb’s experience in Korea some years ago, where he remembers that signage letter forms used a preponderance of right angles and had mass, not just line.
Sam Spiczka, Sauk Rapids, MN — “Standing Knife Edge” and “Helios Emergent”
When Spiczka looks at a natural creation, such as a bone, shell or tree, he is struck by the anomalies and variations found in an object that appears symmetrical at first glance. The sculpture is inspired by this conflict between an ideal state and an imperfect reality, when life aspires to perfection but is forced to adapt into a more irregular and complex form when it encounters an indifferent environment. In it one can find both the chaos of growth and the geometry of perfection.
Tim Jorgensen and Carissa Heinrichs, Madison, WI — “Point of Reference”
Point of Reference is the form of a plumb bob, a weighted tool used to determine if an object or construction is vertical. This is one of three nearly identical sculptures that will be installed in different locations in the Midwest. With intentions of separating them as far apart from each other, they function to triangulate a region as a reference point of individual perceptions. The broken cartography that adorns the surface of the sculpture alludes to the idea of the disjointed interpretations of one another’s perspective.
David Wells, Curator
David Wells serves as Gallery Director at Edgewood College, in charge of the art gallery exhibition program and college collections. He is also Artistic Director of GLEAM: Art in a New Light for Olbrich Botanical Gardens in Madison. Wells has pursued interdisciplinary interests as a curator, arts administrator and practicing artist for over 35 years. David founded Curators Conversations Wisconsin, serves on the Wisconsin Visual Arts Achievement Awards selection panel (Museum of Wisconsin Art) and recently juried the 2016 Northeast Wisconsin Art Annual (Neville Public Museum, Green Bay) and Wisconsin Artwest 2017 (L.E. Phillips Memorial Library, Eau Claire).