Decatur Artway
A city-wide outdoor exhibition featuring sculptures on loan for 2-year periods, the Decatur Artway ensures a consistently engaging collection of public art. Local and regional artists are selected by a jury, receiving a stipend for the lease of their work. Explore current installations and past phases of this program, which began in 2015.
This is an ongoing program, so we encourage artists to keep an eye out for the next call for submissions!
Current Artway Sculptures,
Phase Seven
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While taking a yoga class in my hometown of Lake Worth Beach, FL, I observed a young woman practicing an advanced yoga pose. It was so stunning and graceful that it inspired me to create the aluminum sculpture, Wheel. It is my belief through the effort and focus we apply towards transforming difficult, seemingly impossible situations, we create a habit of becoming positive, healthy people. This discipline in yoga or other life experiences can be beneficial to oneself and society, resulting in a happier existence.
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Intrusion is an exploration of the interaction and energy created by pushing three large, irregular forms very close together. The composition conveys a sense of tension between the three sections. The graceful, curved lines and unbalanced, leaning forms suggest movement — perhaps a dance; perhaps a struggle. The matching curvature of the gaps between sections invites exploration. The middle section, differently finished from the other two, seems to be pushing its way between them (intruding).
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Kite Migration is a sculptural form that implies an existing geometric structure in the migratory patterns of the Split Tail Kite. The artist suggests that, even in the most organic movements and behaviors in nature, there is an underlying geometry; an intentional composition. As a sculptor, I strive to design and execute artworks that intrigue and inspire a viewer about their place in an environment or space. My work exhibits a relationship between our existence as a human species and the universe in which we exist. I examine the tools and concepts that we have created in order to understand our world and I explore ideas that dwell on the boundaries of reason and logic. I believe these explorations are the fertile grounds from which true discoveries are made.
Kite Migration is a permanent installation of the Decatur Artway.
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On Extended Display
CONCRETE AND STEEL
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STAINLESS STEEL
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My outdoor sculptures comprise large-scale stainless-steel pieces with nature-based themes, and are greatly influenced by endangered species and botanicals. Papillon is an oversized endangered butterfly’s forewing. Intended to appear as a monolithic abstraction when viewed from a distance, only upon closer inspection will the viewer discover the subtle vein patterns in the wing.
The polish of the stainless steel is highly interactive in that the colors reflected are constantly changing, and viewers investigating the work become part of the piece as their reflections change and vary while passing. Clouds, sky, time of day, seasonal changes, and faces are driving forces in the experience.
Permanent Sculptures
PAINTED STEEL AND CAST IRON
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This sculpture deals with personal thoughts and experiences derived from thinking about all the things a person has to go through in a lifetime. These things can be small or large, happy or sad, good or bad. Whatever the feeling may be, these are the things that direct you. Experiences make you who you are.
The sculpture holds different meanings for each viewer. I created an actual passage that viewers could go through so they could experience the feeling of going through something difficult. Everyone has to go through things they don’t want to and those are all different for each person. The sculpture is a visual version of some of the things that I was afraid to go through.
Something We Had To Go Through was initially installed as part of Phase 1 of the Decatur Artway.
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In this modern world, where we constantly feel more connected through advancements in technology, I believe that we are simultaneously disconnected as a result of these devices.
By using public art as a vehicle for expressing contemporary issues concerning communication I see the concept for my work becoming more relevant every day. Through the radiating spokes of my abstracted satellite forms I hope to engage the viewers’ curiosity and invite public interaction.
Dealing with issues of communication in my own life I have realized this is a struggle that many of us encounter. As I think about the idea of communication I realize that I can internalize this issue, or make it as broad as the world around me. How can we better communicate ourselves to the world? That is the question.
These forms seem to remind us of some type of foreign communication device. Appendages reaching outward to send or receive signals from others, it is difficult to discern whether it is from the future or the past, and how well it served its purpose.
We may also decide that these devices illustrate an overwhelming desire to be understood in our own efforts of communication. The examination into the roles we play and the quality of our own personal relationships is the intention of these forms. These devices may be tangible evidence of how communication succeeds or fails in our own lives and in the lives of others.
Dreamsicle was initially installed as part of Phase 2 of the Decatur Artway.
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“Perhaps it sounds saccharine or maudlin, but the sculpture I call Flying grew out of my happy marriage of 56 years. The man holds up the woman. The woman, held aloft, reaches out for birds and celestial things, symbols of what is important in life, savoring happy times.”
Flying was initially installed as part of Phase 4 of the Decatur Artway.
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I have been working in glass and metal for more than 30 years. About 15 years ago I started making public art. A sculpture includes a profound amount of spiritual content. Creating and designing for special locations is exciting. Seeing my work in its outdoor setting makes me feel like I have made an impact in the world. Seeing the stunning effect that glass and metal has on the landscape is pure joy. Art is like a rocket full of our hopes, dreams, and history that shoots into the future for all generations to come.
Tre Chance was initially installed as part of Phase 6 of the Decatur Artway.
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Kite Migration is a sculptural form that implies an existing geometric structure in the migratory patterns of the Split Tail Kite. The artist suggests that, even in the most organic movements and behaviors in nature, there is an underlying geometry; an intentional composition. As a sculptor, I strive to design and execute artworks that intrigue and inspire a viewer about their place in an environment or space. My work exhibits a relationship between our existence as a human species and the universe in which we exist. I examine the tools and concepts that we have created in order to understand our world and I explore ideas that dwell on the boundaries of reason and logic. I believe these explorations are the fertile grounds from which true discoveries are made.
Kite Migration was initially installed as part of Phase 7 of the Decatur Artway.
Past Phases
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This work is created in the spirit of providing a space to reach, move, and stand; a place of being before becoming, a place to pause, to walk, and to contemplate life treasures or woes.
Pillars were used by the Greeks, Romans, and Egyptians, and later were incorporated in antebellum architecture. Pillars are the main forms in many churches’ architecture, specifically Sagrada de Familia by Antoni Gaudi in Barcelona, which instills a feeling you may have while walking in the redwood forests of the West Coast, of a column reaching up to the heavens through the sky.
The Being Before Becoming is a symbol of the transition of history, art, architecture, nature, and human beings. Being before becoming is a theme that came to me through meditation. In applying this philosophy to other areas of life, these sculptures provide an environment to look at from afar as well as mingle within and to create individual experiences of the pillars.
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Recently my art is dedicated to the creation of sculptures that are made of intersecting planes of welded steel. These sculptures, which I call “stardusts,” are metaphors for the human condition, which is a complex union of the opposing forces of fragility and strength. Just as the planes of steel that compose my work are juxtaposed, we as people are interdependent, woven in a complex web of interconnected forces.
The stardust form is inspired by a rock formation commonly known as a desert rose. This rock can be found throughout the high plains of Mexico, Utah, and all the way to the Rockies. Each stardust sculpture reflects my fascination with this wonder of nature. My “stardusts” have been described as coral from the sea, flora from the land, snowflakes from the sky, and meteors from the stratosphere.
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My outdoor sculptures comprise large-scale stainless-steel pieces with nature-based themes, and are greatly influenced by endangered species and botanicals. Papillon is an oversized endangered butterfly’s forewing. Intended to appear as a monolithic abstraction when viewed from a distance, only upon closer inspection will the viewer discover the subtle vein patterns in the wing.
The polish of the stainless steel is highly interactive in that the colors reflected are constantly changing, and viewers investigating the work become part of the piece as their reflections change and vary while passing. Clouds, sky, time of day, seasonal changes, and faces are driving forces in the experience.
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“Through the pain and suffering
That 400 years of American torture has brought
HERE
Although stereotyped, demonized, and ostracized
Black Women are HERE
They curve and contort their bodies and spirits
Through the anguish and shame that history has brought
They stand tall, monumental, and strong as steel
Unbreakable and unmovable
Beautiful, resilient, and dignified
Our mother, sister, humanly human
Black women are
and will always be
We are
Because she is
HERE – Human . Eternal . Relevant . Empowered”
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“I create art to connect community, explore culture and construct guideposts for life. Weaving stories, warming the creative soul, and bringing happiness to the heart are just a few of the objectives of my work.
I use rugged materials and incorporate symbols that embrace aspects of a place to created bridges between generations of people from diverse backgrounds. Popsicles is a sculpture inspired by childhood vacations and the roadside Americana experienced along those journeys.”
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My work is a sculptural exploration of abstract form with steel. Mainly composed of geometric and planer elements that revolve and intersect, my sculpture sometimes resembles architecture or figurative poses. I’m heavily influenced by naturally occurring geometry on both micro and macro scales. When exploring form, I like to apply laws that mimic those found in nature in order to provide a framework for interesting direction.
Undulation captures wave-like forms constricted to a thin cylindrical shape. The work is entirely made of seam-welded steel panels with a sea-greenish paint to contrast with the red oxidized edges. Undulation started as a combination of curved pieces of scrap metal from a previous project. With no original model dictating the fabrication of the piece, creating Undulation was an improvisation. It was built from the center outwards; each new component a reaction to balance the form and flow visually.
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“In the game of chess, the king cannot move into a threatening position. If the situation arises that the king cannot move at all without being threatened, it creates a no-win/no-lose condition called a stalemate. This Stalemate is a sculptural work of three verticals. My concern in making it was the interaction of the curved areas with the straights. Playing them off each other by arranging the verticals at various angles created additional shapes in the negative space between these suggested chess pieces. You might say that there are five verticals, three positives and two negatives. The visual interplay of these abstract shapes is intended to suggest the game of chess.
My works are made from sheet aluminum. I cut, bend and weld pieces into a semi-preconceived form. I say “semi” because as the sculpture progresses, forms may be changed, ideas altered, pieces added or subtracted before the final object is achieved After grinding and finishing I apply primer and paint. The paint not only protects, but gives me the ability to add color. Some works are painted in one solid color, and others have several colors on various planes. Sometimes I use a base color, with a variety of additional colors and brushwork.”
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“Perhaps it sounds saccharine or maudlin, but the sculpture I call Flying grew out of my happy marriage of 56 years. The man holds up the woman. The woman, held aloft, reaches out for birds and celestial things, symbols of what is important in life, savoring happy times.”
Flying was initially installed as part of Phase 4 of the Decatur Artway.
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My process in creating A Refusal to Stop and Ask for Directions was different from my usual process. I did not design the sculpture in advance. I simply made the first section, then added the next, and proceeded in that fashion, with a general notion of the scale of the final sculpture, but without trying to envision the completed form, beyond the next two or three sections. I knew that I wanted to leave a lot of open space and create a strong, three-dimensional, slightly chaotic sense of motion. The title is a reference to the approach some people use in driving, but also a fair description of my approach to creating this sculpture.
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While growing up in Atlanta, my family had a pond in our backyard filled with koi. One spring morning, we were startled to see a heron hunting at water’s edge. We ran toward it, arms flailing, but it had already scooped up my favorite fish before gracefully spreading its wings and flying away. As mad as I was, it was hard not to admire the majestic killer, where both beauty and heartbreak lived so comfortably.
The piece draws on the construction techniques of vintage planes, using aircraft fabric to sheath the heron’s wings. Likewise, it draws on emerging technology, using flexible solar panels to power the flapping motion of the heron’s wings. Like birds, that have relatively few, light and hollow bones, the mechanical heron is constructed of thin, aluminum tubing.
This site-specific piece is a large, solar-powered mechanical heron, constantly in flight. The mechanical aspect combined with the natural bird form represents the juxtaposition of Decatur – an active, bustling city defined by its natural green space.
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Sister is a trinity of drawing, painting and sculpture. Indeed she is drawing in space. Her graphic nature enhances her ability to recall the story of history and culture. Sister is diminutive yet powerful. Simple yet heroic. She is the matriarch and the children. She is the unheard, underrepresented, underserved, marginalized voice of indigenous Black people. You catch her out of the corner of your eye because, though rejected, she is ever present. You must confront her. You must engage her. She carries and nurtures a nation.
“Cross Sister” is about the spiritual nature of the matriarch that governs and preserves the moral character of Black people. This morality, which enables harmony, perseverance and faith, is a bedrock of African-American culture.
“Cosmic Sister” embodies spirituality and creation symbolizing the purpose of a people in the universe. She is a nation whose destiny is without limits.
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In this modern world, where we constantly feel more connected through advancements in technology, I believe that we are simultaneously disconnected as a result of these devices.
By using public art as a vehicle for expressing contemporary issues concerning communication I see the concept for my work becoming more relevant every day. Through the radiating spokes of my abstracted satellite forms I hope to engage the viewers’ curiosity and invite public interaction.
Dealing with issues of communication in my own life I have realized this is a struggle that many of us encounter. As I think about the idea of communication I realize that I can internalize this issue, or make it as broad as the world around me. How can we better communicate ourselves to the world? That is the question.
These forms seem to remind us of some type of foreign communication device. Appendages reaching outward to send or receive signals from others, it is difficult to discern whether it is from the future or the past, and how well it served its purpose.
We may also decide that these devices illustrate an overwhelming desire to be understood in our own efforts of communication. The examination into the roles we play and the quality of our own personal relationships is the intention of these forms. These devices may be tangible evidence of how communication succeeds or fails in our own lives and in the lives of others.
Dreamsicle was initially installed as part of Phase 2 of the Decatur Artway.
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This abstract, painted steel sculpture depicts the four elements of Greek philosophy — earth, water, fire, and wind. The circular form can be interpreted as the sun, the moon rising or setting, and the cycle of life. The horizontal and diagonal forms represent water and earth and are in a variety of forms, shapes, and colors as they occur in nature. Although specific colors represent the elements in this sculpture, those colors change depending on the time of day, season, surrounding landscape, and as you move around the sculpture. My work addresses the concept of time, movement, balance, and space. Each sculpture occupies and creates its own reality influenced by its immediate surroundings.
As Khalil Gibran said, “The mission of art is to bring out the unfamiliar to the most familiar.” With this, I would like the viewer to gaze, interact, and experience my sculpture.
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I create in stone and metal with the aesthetic and activity of graffiti. I feel newer urban aesthetics have yet to be explored in three-dimensional timeless materials. Graffiti is seen as a sore upon society, but the action of individual mark-making dates back to pre-historic cave paintings and is the epitome of free expression.
By utilizing durable materials within the graffiti paradigm, my works invite others to leave their marks upon my sculptures. This action breaks the sanctity of the art object and truly makes the work public, giving it life, and allowing it to change while also enduring time. Instead of some compositional arrangement in steel or stone to be maintained in its original beauty, I create public works that allow anyone to alter the surface. As the times and people change, so does the artwork, because it shares space and inhabits their community. This interactivity of allowing the sculpture to evolve through other peoples’ energy and enliven the work is what I find engaging.
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There are lessons to be learned from simple things like the life cycle of a tree. I have observed throughout the years how trees self prune. When a limb becomes unproductive, it falls allowing more growth for the productive limbs. This continues until the tree has lost all its limbs and eventually falls to the ground. Even in falling the tree gives back to its environment. Seeds produced and cast off years, decades, and even centuries before benefit from the parent tree. The area where the parent tree once stood now provides these younger trees light and an opening into which they can grow.
As we grow larger as a country, city, company, or even personally, unproductive elements should be removed; however, we find ourselves dealing with various predicaments. Often we find it difficult to properly evaluate productivity and after removing elements we waste them by discarding them completely. Careful discernment should be exercised first as to what is being removed and then as to how. Care should be taken when deciding what is to be done with the elements displaced. Various elements of culture help to make a well rounded society that enjoys life, builds culture, and leaves a legacy for the future generations. How are we pruning and nurturing our environment? It is an important thought to ponder.
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This sculpture deals with personal thoughts and experiences derived from thinking about all the things a person has to go through in a lifetime. These things can be small or large, happy or sad, good or bad. Whatever the feeling may be, these are the things that direct you. Experiences make you who you are.
The sculpture holds different meanings for each viewer. I created an actual passage that viewers could go through so they could experience the feeling of going through something difficult. Everyone has to go through things they don’t want to and those are all different for each person. The sculpture is a visual version of some of the things that I was afraid to go through.
