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GEOMETRIC
Jay Dougan, IU Herron School of Art and Design
Geometric is based on wooden puzzles from the artist�s childhood. The sculpture is made of several
parts that look as if they could be put back together. Some of the parts lay on the ground looking
as if they fell out of the main 10-foot circle. The parts that lay on the ground serve as benches,
inviting the public to interact with the sculpture.
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EMERGENT FORCE
Robert Pulley, Columbus
This six-and-a-half-foot tall stoneware clay piece was built by hand by the coil method. Emergent Force
refers to the sense of expansive strength this abstract sculpture suggests. The artist gains his inspiration
from the forms expressed in plants, animals, and geology, as well as the constant exchanges of energy as
forms are born, change, interact, and disappear. These transformations can be as subtle as the sprouting
of a seed or as dramatic as an explosion. Energy and matter are interchangeable, and change is constant.
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THE STAFF OF JIZO BOSATSU
Katrin Asbury, IU Herron School of Art and Design
Jizo Bosatsu was a Japanese monk, often considered to be the personification of compassion and depicted a
great deal in medieval Japanese sculpture. He carried a staff that jingled as he walked in order to scare birds,
insects, and rodents out of his path so he wouldn�t step on them. This Jizo holds his staff and a small field
mouse, but is also watched by a medieval lion, who is probably a friend. This set of figures � made of cypress,
mahogany, bronze, and casein � is an ideal trio to inhabit a wildflower meadow.
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BETWEEN HEAVEN AND EARTH
Dale Enochs, Bloomington
This 13-foot tall sculpture speaks of the earth and of where the spirit aspires � and defines the space between.
The primary material, limestone, is indigenous to the artist�s home and speaks of time, substance, strength, and
the land from which it comes. Scale, texture, form, and mass, among other elements, are formal considerations in
the process. All of these associations are an integral part of the work. The manipulation of a material in an
ordered manner has the potential to allude to elusive ideas.
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CIRCLE CANOE
James Darr, IU Herron School of Art and Design
Circle Canoe is a commentary on daily rituals and never ending cycles directly representing the events of a day or
lifetime � events as mundane as a daily commute to more profound as life-long discoveries. This 23-foot steel and
wood piece is also a place to reflect in simple geometry.
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DWELLING
Alexander Peace, IU Herron School of Art and Design
Dwelling�s formal geometry visually activates the surrounding landscape, while the 19 birdhouses designed specifically
to attract house finches engage local wildlife. These birds live communally and are often closely associated with human
habitation. Finches display extreme color variation, ranging from pale yellow to bright red, depending on the amount of
pigment in the bird�s diet. At 17 feet tall, Dwelling is an ever changing bridge between art and nature.
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WOODEN CRANE AND SILENT BELL
Joe Thompson, IU Herron School of Art and Design
This upright structure is a representation of a wooden crane, comparable to a steam engine crane built at the turn of the
twentieth century � or much like a modern construction crane (winch), which erects buildings and builds bridges. The
construction methods of the crane refer to a time in history when everything was built solely by man, not machine. The
crane�s purpose is to support a 4-foot tall cast aluminum bell. The bell is isolated in space, hanging in limbo, out of
reach from some unknown third party. This bell remains silent, unable to be rung, only to sit in silence, waiting.
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