Steinson, Nancy

Wind Chapel

“Born in Louisville, Kentucky, I came to New York to work as assistant to the student advisor at International House. I received a B.A. Degree in political science at the University of Louisville. Dedicated to human rights issues as a Southerner, but equally seduced by the arts, I studied sculpture under Peter Agostini at Columbia University’s School of the Arts. I later received an M.A. Degree in Art Education from Columbia University Teachers’ College.

Although my earliest work was representational, I became an abstractionist under the impact of Constantin Brancusi, Barbara Hepworth and Ben Nicholson. Small ovular and curvilinear forms gave way to more liberating, purely geometric structures that were free to move out of a central core in order to express movement, direction, space and scale. I work almost exclusively, except in works on paper, with curved planar forms and linear straight edges which suggest a more organic approach to form as opposed to the industrial purity of early minimalism. My materials are for the most part welded steel and bronze and I am drawn to both their particular energies.” – Nancy Steinson

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DNA Totem

“Creating art is a combination of incredibly intense and sublime moments, none of which you control. It’s my job to show up every day ready to work and while it can feel like slogging through deep mud with only a vague notion of the direction you are going – continuing to plod is necessary to end with a result that I would call art. It’s analogous to fishing… you do all the things you’re supposed to do, like get up really early, sit quietly on the river’s edge, watch the water’s surface and with a leap of faith – cast your line. Once you have done all this, it’s up to the gods whether you catch a fish or a tire. If you’re good at your sport, you may be able to ‘feel’ what you’re coming up with, hence the Daimones. But a large part of the process is ‘doing the work’ and taking a leap of faith.

I often say- I’m not strong or courageous, but I don’t mind climbing out on a limb. In some strange way I’m comfortable there.” – Suprina

Parriott, Shelley

Color Field Sculptures: Watercolors

“Visually and conceptually, Color Field Sculpture® installations simultaneously present a dichotomy and an integration between the corporeal and the intangible – our physical and spiritual aspects. Monumental in size and visual impact, yet illusory, transparent layers play in the changing light to describe: material / immaterial, being / non – being, and the transitory nature of form.

From miniature interior wall pieces to large-scale installations, Parriott’s concept begins with our passage through existence: “existence is the medium through which every aspect of being is transformed.” Overlapping layers of experience translate into sheer sculptural layers that interact with each other, the participant, and the environment.

Largest scale site-specific configurations invite viewers to enter into and move through the sculpture – transitioning through time, space, prismatic patterns of color, blended tints, and optical illusions.

We question our conditioned perceptions and what seems to be, changes.

Color Field Sculpture® Installations Transform Space

Perforated heavy gauge aluminum is rolled, bent or folded by powerful presses as the sculptural concept emerges.

Permanent powder coated color is electrostatically applied to all components.

In a process of welding the artist’s vision to technical necessities, industrial materials are transformed from ordinary “workaday” existence into lyrical multi-dimensional expanses that immerse the viewer in vibrant fields of color.

As light passes through the transparency of the sculpture, the atmosphere shifts; shapes that at first glance appear to be solid and corporeal now elude definition. Mysterious shimmering nuances seem to appear/disappear, and take on an airy quality not usually associated with structurally sound large-scale sculpture.

Created in any size, shape or palette, indoors or out, suspended or anchored, varying hues enhance public spaces, interiors, landscapes, cityscapes, and private gardens – redefining the environment into a canvas of unlimited dimensions bounded only by the specifics of the site.”

– Shelley Parriott

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Holmes, Tom

Balance of Power

“I am drawn to working in the six elements of stone, metal, wood, light, ice and water. It gives me the ability to work intuitively. All possibilities can exist briefly before I impose parameters with regard to my emotional and intellectual contexts.” The undercurrents of natural decay, unity, duality, symmetry, space, time and dimension are at the heart of Tom’s creative energy. “I work seasonally, tracking the weather. Different temperatures demand independent responses to materials and approaches. Ice follows the freezing mark of winter, stone and steel the exterior work space of summer. Spring begins the search for materials and fall settles all debts, emotional, physical and intellectual. My work is my life and I thrive on long days. There is only the transcendence of the everyday. Cooking, friends, love becomes the sublime witness of doing. Process for me is the essence of my day.” – Tom Holmes

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Benavente, Edward

Starting from Scratch

cement, stainless steel, paint, 2005

“In the never ending search for the meaning of life, the philosophical question of which came first, the chicken or the egg, suggests that a simple and definitive answer is at hand. Of course the simple answer is evasive and only generates more debate. It is generally assumed that the solution lies within a choice between one or the other proposed answers. I propose that the answer is not a matter of limited choice. The nature of life and art is ever expanding. Growth requires exploration into the undefined. Therefore, I would answer that it is not a choice between the chicken and the egg but rather a third, unspoken choice which is creation. When untapped knowledge (the egg) combines with inspired motivation (the feet) the possibilities are endless and the question of which came first is irrelevant. Creativity is life.” – Ed Benavente

Potts, Hildreth

Two life-sized turkeys made of found metal objects. Installed in front of Moore’s Hardware on Broad Avenue.

“Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination.” – Hildreth Potts

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Teppich, Naomi

Cactus Palm

“Especially when the environment is under bombardment, I feel strongly about sending a message through my art. For the 2017 Beacon 3D exhibition I have created a “snowflake cactus”, a large ferro-cement sculpture. It is mounted on a steel base and has three sections standing 8.5 feet high and 3 feet wide and long. The sculpture has embedded copper wire on its edges and is painted with ornamental cement stains, paints and sealer.

Cacti sculptures have interested me for the last ten years. One of my desert plant sculptures was modeled after an octoillo plant usually seen in the Southwest and California. I have also done a sguaro cactus, a cactus-cocoon hybrid sculpture, an enlarged ephorbia, an agave-like sculpture and a palm cactus. I enjoy placing these sculptures in northeastern sculpture gardens, courtyards and parks alerting the viewer of the inappropriate place to find these plants. My works are interactive attracting people to see if the sculpture is a real plant or not.” – Naomi Teppich

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Mauro, Janice

Ode to Ninja

“The totem, Ode to Ninja, is part of a body of work conceived to serve a variety of purposes in the future, and to illuminate the dangers of our current situation. In the mythology of this project, it represents the worship of the Ninja, a creature revered for its endurance, especially during the devastating flooding of the “Tidal Decade”. Ode to Ninja symbolizes my belief in the spiritual as an essential need in art and life.”
– Janice Mauro

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Rice, R. Douglass

Evolution #1-6

Evolution #1-6 is one in a series of sculptures fabricated in powder coated aluminum. I have been a builder and an artist for over thirty-five years. These works combine my history of working in three dimensions with my intense love of color and form. Each of the pieces in Evolution #1-6 contains the exact shape of its succeeding piece. In other words, each separate sculpture evolves from its previous companion. When assembled together they resemble a creature arising from the primordial ooze.”

– R. Douglass Rice

R. Douglass Rice, who has had studios in New York City and Stonington, Connecticut, has exhibited in the National Arts Club in New York, Mystic Museum of Art, Farrah Damji Galleries in New York and East Hampton, Beef Gallery in San Francisco, Avondale Arts Center in Avondale, RI, and others. He studied at Stanford University, from which he graduated with a BA, the Mendocino Arts Center, and the School of Visual Arts in New York City. He currently lives in Stonington, CT.

Levenson, Conrad

Monumental Screw Up & Personal Goal Post

“I salvage scrap materials and obsolete objects, repurposing and recomposing them as works of art, while combining previously unrelated elements in unusual and unexpected ways. My sculptures evoke the former times, places, lives, unique character, and embedded energy of their source materials. I tell their stories, as I explore and mediate the essential relationship between their form and content.

Ranging in size from the intimate to large scale installations, my sculptures are displayed indoors and out, often in spaces and settings of my own design. Individual works, series, and commissions are included in many private collections and outdoor public exhibitions.”

– Conrad Levenson

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Novina, Ulla

Ancient Vessel

Ulla Novina was born and educated in Sweden and studied sculpture in the studio of Minoru Niizuma. In addition to creating art, she also lectures on art and sculpture. She is a former board member of the Art Center of Northern New Jersey, and the president of the Art Center Sculptor Affiliates.

Novina is represented by Broadfoot & Broadfoot Gallery of Fine Art in Boonton, NJ and the Lower East Side of Manhattan. Her sculptures are in many private collections in both the USA and Sweden.

Novina writes: “My sculptures are expressions of my love of and my identification with the stone.
I explore the stone’s natural state and strive to achieve an aesthetic balance between the stone itself and my carved form – a bold union. For me, the non-representational expressive form is truest to this idea.”

Ancient Vessel is installed inside Leonia’s Borough Hall.

For more information, please visit

Ancient Vessel has been generously donated to the Borough of Leonia.

Bodin, Murray

Circles XX

“Circles represent completion. The rough edges are gone. Peace remains.

50 years ago I started welding. First with cut nails, then stainless steel, in the style of David Smith. As color became available I used color to reflect a changing society.

Current Public Art Installations: Leonia NJ, Bethel CT Town Square, Greenburgh NY Library, Town Hall, Metro North RR Station.

I am currently working under the guidance of David Boyajian at the Sculpture Barn in New Fairfield CT.” – Murray Bodin

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Palminteri, Charles


Charles Palminteri is a bold, abstract painter of the “action” school. Many of his works are purchased by architects for office buildings and executive homes in New Jersey, New York, Connecticut and Florida. Mr. Palminteri has exhibited at Foote Cone & Belding in Manhattan, rocheBobois in Estero, Florida, the Sweet Art Gallery in Naples, Florida, the Speak Easy Gallery in Boonton, New Jersey, and the George Segal Gallery at Montclair State University. Palminteri uses a variety of styles and approaches in an abstract expressionist framework. Some are large, gold patterns and shapes developed from Japanese Kanji and Hiragana calligraphy.

The start contrast of these shapes in their background sets up a tension between the negative and positive areas that demand attention from the viewer.

In other works, Palminteri’s lines are soft and flowing. With a series of undercoatings, he achieves a luminosity of color and light. His shapes lead the viewer into a maze of dreams and lunacy. No matter how soft the lines and shapes, the overall message is strong and clear.

A graduate of the School of Visual Arts, Palminteri attended the Arts Students League and the Chinese School of Brushwork in New York City. Mr. Palminteri is also a well-known commercial artist and graphic designer whose clients include many Fortune 500 companies.

For more information, please visit

Kim, Insun


“Nails are very important tools in terms of structure and stability. One nail by itself however can not hold too much together. Much of the time it is necessary for multiples to be used in unison. Each nail represents a person in my work. I use stainless steel nails for the clean and pure appearance. When each nail is welded to the ones next to it, it will visually have a bond specific to that set of nails. Every bond or weld is different which comes to represent the individual relationships between people on a grand scale. Each nail used differs in size from the ones next to it, below it, and above it in a way to simulate the variety found in nature and society. In this event when we take a step back we no longer see each individual nail, but one tree, one tree that encompasses thousands of smaller pieces each have their own bonds and relationships and ultimately play a much larger role maintaining stability and structure through their strength.” – Insun Kim

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Chirchirillo, Joe


“Over the last 5 years I have been concerned with creating sculpture that is drawn from elements found in nature, architecture and mechanical world. Sometimes they strike me as parts of decaying buildings, other times as architectural order emerging from nature. There is an intentional vagueness about the visual imagery.

For me, sculpture is about creating what doesn’t exist as opposed to rendering what does. It is a conglomerate object created by someone who is having a conversation with the material and the world around them.

I build these sculptures by casting over steel structure into either molds or wet sand. There is a degree of uncertainty and spontaneity in each casting event. I am very process oriented and these pieces grow and evolve as I continue to work on them.” – Joe Chirchirillo

Hilgemann, Ewerdt

Sculptures from “MOMENTS IN A STREAM” exhibit by Ewerdt Hilgemann

Cube Flower



These sculptures are located on the corner off Fort Lee road and Station Parkway. Ewerdt Hilgemann, distinguished Amsterdam-based German artist is currently showing in Leonia, N.J. The sculptures, ranging in size from 8 to 20 feet in height, were created specially for a Park Avenue, New York City installation using a unique vacuum process, which “implodes” geometric shapes causing the material to deform according to natural laws. Hilgemann developed his method in the early 1980s after experimenting with white wooden wall pieces that captured light, influenced by ZERO movement. Hilgemann’s “implosion” process begins by fabricating perfect, geometrically pure stainless steel forms, which are meticulously welded and polished to satin gloss. After this part of the process is complete, the artist slowly pulls the air out with a vacuum pump, putting the natural atmospheric pressure to sculptural use and collapsing the forms into their final shape. In a delicate balance of planning and chance each piece acquires individual character demonstrating unexpected and striking possibilities of the material.

“To me the implosion represents the inward spiral of energy to reach the core and mystery of matter, the ultimate beauty of creation,” says Hilgemann.

Ewerdt Hilgemann (1938) was born in Witten, Germany and after briefly studying at the Westfälische Wilhelms-University in Münster, he attended Werkkunstschule and the University of Saarland in Saarbrücken. In the 1960’s he had residencies at Kätelhöhn Printers in Wamel, Asterstein in Koblenz and Halfmannshof in Gelsenkirchen, Western Germany, and started to exhibit his work across Europe before moving to Gorinchem, The Netherlands; and has had public installations from Busan, Korea to the City of West Hollywood, CA. Since 1984 the artist lives and works in Amsterdam.

For more information please visit

Attebery, Mark

TENDRIL GROVE NO.1 by Mark Attebery

Tendril Grove No1

This sculpture is located in the sculpture garden. Metal sculptor and multi-media artist Mark Attebery worked previously in stained glass, with over one hundred glass works installed throughout California.  In addition to visual arts he’s had a busy career as a composer. He has received numerous music commissions from dance companies, including the Oakland Ballet & Malashock Dance Co. Mark received awards from the San Diego Arts Commission, the Ann & Gordon Getty Foundation and Meet the Composer Inc.  The American Ceramic Society included Mark’s recordings of experimental clay musical instruments in a CD & Book titled From Mud to Music. He teaches at Ethical Culture Fieldston School in New York.  Mark fabricates his forged and welded steel sculptures in his Nyack, New York studio. His work is exhibited throughout the United States.

Artist Statement: As a sculptor I’m interested in depicting beauty, stillness and most of all a life energy coursing through metal. Flowing movement and sensuous growth observed in nature inspire recent sculptural work. While primarily abstract, these steel sculptures suggest natural phenomena and living organisms inspired by both botany and astronomy. Graceful gestures are forged using traditional blacksmithing, then welded and finished with patinas, electro-plating, automotive paint or powder coating. These are personal choreographic gestures in metal, aiming to capture moments of elemental grace observed in the natural world.

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Fields, Ailene

FROG PRINCE by Ailene Fields


This sculpture is located on Broad Avenue and Magnolia Place on the Triangle.

“Like my idol, Hans Christian Andersen, and his modern-day counterpart, Walt Disney, I am a storyteller. As a child, I was entranced by Andersen’s Fairy Tales and the mythologies of Greece and Rome. In adolescence and later, as a literature major in college, I discovered the Norse and Druidic legends, and the folk stories of Europe and Asia. Above all, they struck me with their essential wisdom, so concise and profound – that life is what you make it, which is, of course, a function of how you see it.

What I want, more than anything else, is to make a difference in the way people see the world, so they can make a difference in how it is. Too many of our troubles arise from the fact that people view the world as a harsh, unfair place. I say it is a thing of beauty, which, we all know, “is in the eye of the beholder.” By being the “eye” of those who behold my sculptures, I have the rare privilege of sometimes being able to bring beauty to those who might not otherwise find it, and in places where it might not otherwise be found – maybe even creating it.

To this end, my aim, sculpturally, has always been to bring softness out of apparent hardness and harshness. In a sculptural sense, the labor of creating that kind of gentility from stones and bronze is a self-contained structural metaphor for the deeper meaning of my work. That, and the challenge of capturing the one “essential” moment of being that tells the whole story.” – Ailene Fields

Frog Prince has been generously donated to the Borough of Leonia.

Glick, Martin

DREAMS OF GLORY by Martin Glick



Artist statement: I’m a realistic figurative sculptor. I sculpt portraits, busts, &full figures, as well as animals. My inspiration is life, mythology and biblical stories. I enjoy creating a mood and/or capturing a movement. I model in clay and carve stone. I enjoy both mediums. Clay is immediate and stone takes patience.

“Dreams of Glory” is a casting of a original clay sculpture of a boy who has played the game of his life. He is dreaming of becoming a famous professional basketball player. This sculpture won first place in a Hudson River Artist competition.

For more information please visit the artist website:

Herzig, Jane Keller

MEISSEN COW by Jane Keller Herzig

Meissen Cow

The  cow on exhibit in Leonia on Broad Ave. next to the post office, was painted for the CowParade 2007 West Hartford, CT. I call the cow Meissen Cow because the design was painted as exactly as possible to represent the Meissen Blue Onion Pattern. In essence, my vision was to create an image of a giant porcelain cow. The white background is the white of the material from which the cow was manufactured. There are only two added colors – gold and blue called Smalt hue. The blue paint is fairly transparent, and many layers were required to obtain a depth of color.

CowParade is and international public art exhibit that originated in Zurich, Switzerland in 1998. The first US CowParade was in Chicago, followed closely by an exhibit in New York City. Most of the artist for each CowParade are local artist, as transporting an adult size fiberglass cow over large distances is costly. Artist paint and sometimes re-sculpt or add sculpted images to their cows, and these works of art go on exhibit in different cities throughout the world. After being on public display for several months, the cows are sold at CowParade auctions; the money raised goes to a variety of charities.

I have painted three cows for two different West Hartford, CT CowParades. I do not intend to paint any more, as by profession I am not a cow painter. I am however a prize winning artist and mostly create pieces in mixed media. For now my husband and I live in Connecticut. In a year we will be moving to Englewood to live near our Leonia based son, his wife and their three children.

Pitts, Richard

Solar Totems

“I want my sculpture to create and activate space with a sense of enrichment. The value that I look for in my work is that it references the environment, giving it the presence of being an important entrance way that encourages a personal path that inspires the way we meet the day.”

– Richard Pitts



Previously instaled at the corner of Woodridge Place and Broad Avenue across from the sculpture garden, currently no longer in Leonia, for more informaton visit the artists website listed below.

“This group of sculptures was completed over a period of seven years. Through the process of fabricating forms in aluminum and completing many smaller sculptures, the larger works took shape. Most works started with brushed aluminum surface, later to be powder coated, a hard and weather-proof finish. Each piece was titled after its surface color.

At first each sculpture was made as an independent work. It was later, after they had been painted that I saw the whole group as one piece. The word “Crayons” was a serendipitous title that I liked because the colors of each sculpture reminded me of a box of crayons.

Crayons are one of the first tools we receive that encourages visual thinking.

These works are meant to activate the imagination, which is the main tool of our destiny.”

– Richard Pitts

For more information please visit


Grom, Bogdan

Mother and Baby Seal


Bogdan Grom, who lived in Englewood and Slovenia until his death at age 95 in November 2013, defied classification as an artist.  Born in Trieste, Italy, his artistic roots derive in color and form from the rocky landscapes of the Karst region of his origins.  He survived Fascist persecution and came to the United States in 1957.

Mr. Grom worked prolifically in all mediums, from oils, aluminum, tapestry, mosaic, stained glass, fiberglass, paper, and wood. His work in painting, sculpture, print making and designs related to architecture  have been recognized in private and museum collections worldwide. His most visible public art…sculptures and mobiles designed to beautify America’s earliest shopping malls…is represented by the two fiberglass seals now happily displayed in Leonia.

Sculpture for Leonia thanks Ms. Nina Woodrow of Englewood, New Jersey, for donating the seals to Leonia.  Their whimsical grace charms all who see them.  We are truly grateful for this gift.

For more information

Galazzo, Barbara

MEMORY CRYSTALS by Barbara Galazzo

This mosaic piece is located in the sculpture garden and named “Memory crystals” – after the crystals used as storing devices in the Superman films. Researchers now claim that using ultra-fast lasers, we can now encode a piece of quartz with 5D information in the form of nano-structured dots separated by only one millionth of a meter. It is made of painted tempered glass, cement and grout.

Barbara Galazzo’s award-winning creations have been featured in major galleries, museums, and commercial installations. Her work is part of the permanent corporate collections of Kaiser Permanente, Washington DC; Northwestern Hospital, Chicago, Il; Fairmont Princess Hotel, Scottsdale, AZ; the Mayo Clinic, MN; and Ruth’s Chris Steakhouse, Knoxville, TN.

Galazzo is a curator, director and art promoter having created the ArtFull Living Designer Show House, Cold Spring Arts Open Studios Tour and is the curator/director of Gallery 66 NY in Cold Spring, NY.

For more information please visit 


Howard-Potter, Jack

PULLING III by Jack Howard-Potter


This sculpture is  located in the sculpture garden. Motivated by his study of human anatomy and movement, Jack Howard-Potter works with steel to create large-scale figurative sculptures. His work has been on display throughout the world in outdoor sculpture parks, galleries and public art exhibitions.

Howard-Potter grew up in New York City where he was inspired by the public sculpture of Alexander Calder, George Ricky and various performance, dance, and artistic exposure. He earned a BA in Art History and Sculpture from Union College and has been making and displaying his original sculpture since 1997.

After college, Howard-Potter moved to Colorado and worked with a blacksmith creating furniture and learning about the properties of steel, the medium that he would eventually use to create his art. Howard-Potter also gained the skills to convey a heightened sense of fluidity in solid steel while learning about the commercial practices of metalworking.

In 2001 Jack enrolled in anatomy and drawing classes at the Art Students League in New York City to further his skills as a figurative artist and understand how the human form works and moves. Famed artist and instructor at the League for 40 years, Anthony Palumbo, selected Howard-Potter to work as his assistant and eventually became his mentor. For two years Jack immersed himself in the human form, sketching five days each week and completing thousands of drawings. It was this practice that gave him the in-depth knowledge of human anatomy that can be seen in his work today.

For more information or to contact this artist please visit

Buroker, Susan


CORN FIELDS by Susan Buroker
Various Metals & Sapele Mahogany 10′ x 4′ x 4′, Located on Fort Lee Road on the Leonia Public Library front lawn.

Continuing my journey on technology and farming this sculpture was inspired by the evolution of corn. Corn is a staple crop that’s importance lies on feeding the world. As the human population continues to rise we depend on farmers to increase global food production.

Farmers have been selecting the most productive plants and seeds from their crops for thousands of years. In the last quarter century,  scientists have begun selecting productive traits at the individual gene level to create new seeds. Science has become the new machine farmers use to increase crop yields. But with this new machine, scientists have created corn plants that are no longer self-sustainable. It is now believed that if farmers stopped planting seeds tomorrow, corn would cease to exist.

“Corn Fields” sculpture represents the force between nature and science. Cables with wood pieces are woven through the structure representing genetic modification of the seed. The wood pieces symbolize the original seed thus creating the web of life.


THE LEGEND by Susan Buroker
Metal, Sapele Mahogany & Glass 11′ x 2.5′ x 3′  Located in the Sculpture Garden.

This sculpture was inspired by Washington Irving’s Legend of Sleepy Hollow, weaving the region’s history of folk tales together with superstitions. Sleepy Hollow is known as the region of shadows and for the witching influence of the air. The best known celebration of this time of year stems from the Celtic festival of Samhain, where Celtic people had celebrations to ward off wandering ghosts. In the 19th century, the Irish immigrants brought this festival to America, which developed into Halloween. “The Legend” represents the love triangle that was the core theme in the Legend of Sleepy Hollow. The shapes of the horse’s head and hooves symbolizes not only the horse of Ichabod and the ghost of the Headless Horseman but also the dichotomy of America and Europe, a correlating theme Irving used throughout the essay. The sides of the sculpture are woven with wood and glass. The wood representing the vine of the pumpkin and the glass representing the pumpkin, the same as the Celtic legends have been woven into our culture. “The Legend” stands upright allowing the viewer to see shadows through the openings created by the different dimensions. These shadows create the bewitching feeling of the legend. Your eye ends at the top of the sculpture with a reflective metal pumpkin head bringing to the conclusion the complexity of Sleepy Hollow.



For more information please visit

Padovano, Anthony



This sculpture is located in the “Triangle” on Broad Avenue between Magnolia and Beechwood Place. A 5,000 pound granite sculpture. Mr. Padovano has taken what some artists consider an old-fashioned medium and created a flowing, contemporary piece with “Cronus.” “I was inspired by the music of Bach when I was sculpting this piece,” said Mr. Padovano. “The monumental chords in Bach’s music inspired me to make large, rhythmic forms in the granite.” Anthony Padovano graciously donated this piece to Sculpture for Leonia.



This sculpture is located in the “Wood Park” area. In this geometric vertical formation Padovano creates a dynamic modernist approach to form and color. The thoughtful interplay of rectilinear and cylindrical shapes is more than just a display of size and color, it is a still life strategically designed to create a secondary interaction of light and shadow that adds further volume and line extension to the larger primary forms. “Yellow Structure,” though constructed in a distinct, individual voice, is from a larger colorful series that was exhibited in the Whitney Museum. Padovano has worked with various media in a wide range of styles over the years; his success, he jokes, comes from not letting himself get in the way and permitting every piece to come to life on its own.

Anthony Padovano has been awarded the Prix di Rome, a Guggenheim Fellowship, a Ford Purchase Award, an Olivetti Award from the Silvermine Guild, and a Gold Medal for Sculpture at the National Academy of Design. His work can be seen at the Whitney Museum of American Art, Wichita Art Museum, and The National Collection of Fine Arts, Washington, D.C. among other venues. He has written The Process of Sculpture, published by Doubleday and Co.

For information please go to:

Marcus, Stanley E.



This is the most recent of my Viking series. It is said of many (if not all) artists that a work is a self portrait even though it doesn’t appear to physically resemble the artist himself. We are all the sum of our life experiences. In this instance it is not a self portrait of myself but that of who I would like to be, big, strong, fierce. I either drew on my imagination or used a football player. There is even a certain muscularity about the face and hair.



This is the latest of the musical sculptures and represent a transition.  For many years I had incorporated musical instruments in my body of work. This limited my ability to show works outdoor since metal rusted and wood deteriorated. I then began to make aluminum instruments and if this was something of my own, I decided not to be limited by shapes based on tones but rather, my own imagination. Hence rather than one bell, my cornet has three and a different arrangement for pressing notes.  Who knows, maybe one of my instruments might use three arms. That could be quite useful to a drummer. I don’t have to set limits.



In it’s title is found a play on words. The conductor is electric in it’s conducting rather than in conduction of electricity. It’s body is a bell lyra, another double meaning with the body also serving as an orchestra instrument. Originally created for my sculptural installation called “The Cocktail Party”, most of its works have been sold and the Electric Conductor now conducts a group of outdoor musicians. The figure is welded aluminum with cast aluminum hands and a real instrument.



This is one of the outdoor musicians I have been naming over the past years. Violin, of wood cannot withstand the elements so I constructed my own violin of welded aluminum. The figure is made of welded aluminum with glass eyes. It’s movement is of dance and so the dancer creates its own music and then dances to it. Musical instruments have always struck me as beautiful. As a consequence I have incorporated them in my work for many years.

The musical trio grouped together as shown in the Erica and David Boyd Sculpture garden.  Musical Trio

Tri-Cornet Player, Electric Conductor, and Dancing on a Box have been generously donated to the Borough of Leonia.

Jackson, William D.


W M Jackson

“This sculpture can be considered an assemblage using two, minimally mixed media: carbon and stainless steels. The welded, forged, and spun components of WAVE-FORM COLUMN include standard profiles, custom fabricated sub-assemblies, and found objects.

Over the past, give or take thirty years, I have continued to add or modify various features and details. Now, with the benefit of hindsight, most of the components summon little histories that add nothing to the final composition, but do allow me to read the work as a punctuated autobiography.”

Ludwiczak, Ted



DSCN1704 DSCN1707 Ted-Ludwiczak4-125x125

Ted Ludwiczak is one of Rockland County’s hidden super-stars of the outsider art world. From his home on the banks of the Hudson River in Haverstraw’s quaint Dutch Town area, he has carved hundreds if not thousands of dramatic faces from the incredible rock that gives Rockland County its name. Ted, who left his native Poland shortly after World War II, worked for years making contact lenses. Then in 1988 he retired, and his whole world changed. He recalls: “It all began when I worked on a retaining wall at my home. When I finished it looked bare. Then I noticed a rock on the beach and saw a face in it. I picked up a lawnmower blade I had been using to work on the wall and started carving. The face became clearer as I worked. When I finished, I cemented it in the wall. He looked a little lonely. So I made another one and then a whole family. I haven’t stopped yet.”

Most of Ted’s heads have benign expressions. All of them have a haunting quality that to us links them to those spectral figures that emerged in so many parts of the ancient world. Ted laughs: “Some people say my faces remind them of Easter Island.” He forms faces mainly from sandstone, basalt, and granite, and some from alabaster, and blue-green Vermont marble. Ted’s work is widely sold in New York City and is permanently on display at Baltimore’s prestigious American Visionary Art Museum, which showcases the work of Grandma Moses and dozens of other less-known artists. The Garnerville Art and Industrial Center near Haverstraw, New York prominently features his stone heads. We are proud to have five of them on display in Leonia at the Wood Park area.

Five Heads has been generously donated to the Borough of Leonia.

Bergman, Dan


Traditionally a sculptor who works with metal, Dan Bergman veered to wood with the creation of “My Father’s House.” The carved out space in this sculpture represents the house.  It is visible from every angle of the three-paneled display.

Here, Dan describes his fascination with houses and his artistic intensions for “My Father’s House.”

Dan Bergman grew up in Chicago and Cleveland.  After a 30-year business career, he began studying at New York’s Art Students League.  His sculpture has been exhibited in many solo and group shows, and he has executed a number of public works.  He is known for intense, convoluted welded pieces, wind-driven kinetic works, and explorations of mathematical structures such as “tensegrity”.

My Father’s House has been generously donated to the Borough of Leonia.

Peck, Judith


This life size sculpture made of plastics, fiberglass and resin is located in the sculpture garden.

This sculpture depicting a seated female figure in solitary introspection, originated as one of three figures on three separate beds situated side by side. Although different from the original concept, the lone figure now seated on a round bench in the Leonia sculpture garden is able to stand alone as a complete sculpture. Each of us is ultimately alone, though from the moment of birth we require the support of others.

The title for the grouping titled Isolation conveys the visual aloneness of each individual even in such an intimate setting as a bedroom: a male rising from his bed demanding to be heard though no one appears to listen; a female straining to speak though she cannot find words to express her thoughts; this woman now seated on the bench who has withdrawn and given up trying.

Perhaps you can sit beside her and tell her there are other ways to be heard and to belong.

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Judith Peck, describes her sculptures as being inspired by people – how they look, speak, and act; how they endure travail and tragedy; how they celebrate joy.  They address thematic concerns about the choices people make and the choices made for them by history, by chance, and by the intensities of their emotions and experience.  The landscape of people is an infinite terrain full of vitality, pain, and joy.  It is always changing.  The artist is too changed as she explores familiar and unfamiliar places with the tools of carving, molding, and fabrication in hand.

In this video, the artist describes why she sculpted “Falling Woman.”

About the Artist Judith Peck’s

Her sculptures are in 80 public and private collections, including the American Art Collection of Yale University, West Palm Beach Florida Library, the Ghetto Fighters Museum in Israel, the Rockland Center for Holocaust Studies, Temple Beth El in New York, and in New Jersey at the Teaneck Public Library, Ridgewood Train Station, and Tenafly High School.  Judith Peck has a doctoral degree from New York University and two Master’s degrees in Sculpture and Art Education from Teachers College at Columbia University.  She is a professor and the author of several books on the creative process. For more information, visit

Carlson, Jodi



“‘Can’t Bring Me Down’ was originally titled ‘Flower/Vase.’  Sometimes people want a name for a sculpture but I can’t think of an apt one right away.  Over time I realize what the sculpture means to me, and then I rename it. For me, this sculpture is about the indestructibility of the human spirit.” “Can’t Bring Me Down” was created for an outdoor sculpture show in Garrison, NY.  The venue is a huge working cow farm.  The site dwarfs everything in it.  I thought it would be funny to pop a giant vase with a giant flower onto the landscape for the show . . . like plucking a flower from a garden, amplifying it with a giant vase, and plopping it back into nature.  This piece also represented a departure from repurposed materials, if only temporary.  I was looking to cement my skills as an aluminum fabricator by forcing myself to weld hundreds of inches of seams.  It worked.”

Jodi Carlson is a metal sculptor who creates abstract and semi-abstract art.  She has shown her works in a variety of sites in the Tri-State (NY) area, and is proud to have large scale pieces currently on display in front of City Hall in Yonkers, NY, and on the Clifton Arts Center in Clifton, NJ.

Jodi earned a BA from Sarah Lawrence College in 1988 and has trained under sculptors David Boyajian of The Sculpture Barn in New Fairfield, CT and Robert Perucci of Silvermine Guild Arts Center in New Canaan, CT.  She also earned an MS in Occupational Therapy from the College of Physicians and Surgeons at Columbia University in 1993.

For more information please visit

Here, artist Jodi Carlson describes why she called her sculpture “Can’t bring me down.”

Friedman, Marilyn


Walking Figure 9:9:09

This six-foot terra cotta sculpture is hollow and stands over a single support.  The work reflects the variety of tools used by the artist.  Clay was pulled, pressed, and dragged to build the forms, silhouettes, and motifs of an abstract figure whose interrelationships express the process of its creation.  The artist’s choice of material relates directly to the natural world.  The piece captures the dualities of strength and fragility and vitality and stillness in both its creation and expression.

Marilyn Friedman studied at the Art Students League of New York, Skowhegan School of Painting and Sculpture, and the University of Siena, Italy.  She has received numerous grants and awards for her works from organizations such as the National Academy of Design, the National Sculpture Society, and the National Arts Club.   Marilyn Friedman’s work is in many private collections.  She has also created commissioned sculptures for Kohler, Lufthansa, and Absolut.  She has taught sculpture at Parsons School of Design and Montoya Art Studios, and is currently teaching at the Art Students League of New York.

Sommerhoff, Herrat



This fiberglass cat was part of a public arts project in the Catskills during the summer of 2014. It was sponsored by a local tourist organization and chosen to be the “raffle” cat in the fundraiser. I attended the gala and auction of the other 50 cats and purchased several raffle tickets for my cat at the last minute; – To my great and pleasant surprise, I won my cat back and have exhibited it ever since. The cat is now located in Leonia’s sculpture garden next to the gazebo.

I enjoy participating in public arts projects. My images are covering traffic control boxes, recycled doors and rain barrels. It is a pleasure to see a delighted public visiting Main Street or a sculpture park, walking from one sculpture to another, admiring its shapes and colors.

Past Works



Herrat Sommerhoff was born and educated in Germany. After immigrating to the United States she began her art studies at Bergen Community College and continued at the Art Students League in New York as well as at the Art Center of Northern New Jersey in New Milford. Her outdoor sculptures are made out of found Styrofoam packing material covered with flexible cement. They are on exhibit in River Vale and Clifton, New Jersey; in Oak Creek, Colorado; and in the Catskills in New York. Her most recent solo exhibit abroad was at the Ministry of the Environment in Berlin, Germany. Sommerhoff is affiliated with the Art Center of Northern New Jersey, SALUTE to Women in the Arts, and NAWA (National Association of Women Artists) in New York City. Her artwork is in numerous collections. Last summer Ms. Sommerhoff was the grant recipient for a public arts project, “The Doors of Roxbury” in the Catskills. For information please go to


Herrat Sommerhof

This sculpture is located in the sculpture garden. At every construction site dumpsters seem to be overflowing with wood, new as well as old. Pallets, having carried heavy materials, are being discarded. There seems to be no further use for the wood. – Wrong! – For some time, I have been picking up pallets to take apart and use in artwork.

Creating outdoor sculpture is my preferred art form – at least right now. There is no limit to size of the artwork, there is lots of exhibition space, and many more people have a chance to see it.

Preparing the wood properly and using high-quality paints, acrylics as well as oils –  covered with varnish – preserve the artwork and make it last many years – even when exposed to the elements.

This sculpture was inspired by some of Paul Klee’s  “grid” work. –

After horizontal pieces of painted boards were attached to the 4 verticals, it looked like a weaving.  Since I was concerned that it might be too rigid, I started to attach playful shapes, also cut from pallets, which changed the piece completely.

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Bertelli, Michael



Michael Bertelli has been a professional sculptor for over forty years, working in wood, stone, bronze and porcelain. His public works can be seen throughout New Jersey in cities, parks, campuses, churches and hospitals. His work has evolved from realistic, e.g. Bust of Pope John Paul II, presented to the Pope in Rome, to the current unique fictional characters.

“The Sage” is respected for his wisdom, experience and judgment. He Knows. Cloned in bonded marble from the original marble. This sculpture can be found on the Leonia Library grounds.

For information please go to:

Rosenberg, Herb


Herb Rosenberg

National boundaries are slowly becoming faint as a global economy slithers through the myriad of cultures around the world. The unique indigenous flavors, colors, habits, sounds and ideas, which have peppered the earth, can no longer be protected by distances.  Cultures are being assimilated, diluted and sometimes ingested or coerced. The digital world might be seen as having created an atmosphere, a WAVERING TWILIGHT, of the distinctions that have been the origins of cultures. Herb Rosenberg is a left-handed Aquarian art-maker in the tradition of some of history’s most zealous artists. His studio is never without works-in-progress in progress. Currently one would see a nine-foot tall aluminum column in the works.


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Murray, James


This piece is located on the front Library lawn on Fort Lee road.

In the sculpture of James Murray, space, interval, and matter are constructed together with a vigor and finesse that frequently defy expectation. Murray initiates his work through an all-inclusive approach to new and pre-existing materials. The artist seeks: “the erosion of time and age—all welcome to evoke the mysterious power of simple form and surface.”

Murray relies on unusual means to forge these coherences.  From experience navigating ships as a merchant marine captain, a one hundred-ton master, he intuits trajectory lines through space. In his lifelong work as a sculptor, he manipulates abstract chunks of form or a specific image of a basic house shape as if guiding ships tossed on waves. Objects under his watch never fall out of range but hold to the edge. The stacked stones and wood blocks are drilled to receive an internal metal rod invisible to the viewer who must suspend disbelief in order to approach and reconfigure the piece.

For more information

Martire, Mary





These super bugs are made out of metal and mixed media. A Lady bug, Butterfly and Lightening bug are hanging from the trees in the Wood park area. Mary Martire used metal, plastic, nylon rope and wire to construct these engaging bugs.

Mary Matire is well known for her ceramics using clay to create useful pieces for dining and decorating.  The nuances of color, shape and style continue to intrigue her. She teaches at the Art School at Old Church, in Demarest, NJ. This encouraged her into new directions, such as the giant insect sculptures, which hang in Leonia, NJ. They evolved from teaching a children’s sculpture class called Bugs and Butterflies. The mixed media wall pieces which are a combination of ceramics and woven fabric, also got their genesis while teaching kids. Mary Matire’s work has been in galleries and art shows throughout New Jersey.

For more information please visit


Prescott, Fredrick



This sculpture is located at the main entrance of the Leonia Library on Fort Lee road. Life and art join to reveal a dynamic partnership in the work of Fredrick Prescott. The joy and animation seen in Prescott’s sculptures simultaneously evoke the natural world and it’s imaginary counterpart. As graphically bold and colorful as his pieces are, they always look perfectly at ease in a natural setting, though there is no denying their otherworldly quality.   The dichotomy between the real and the fantastical in Prescott’s artwork leads to the creation of a captivating, multi-dimensional art form. Using the visual and emotional impact of brilliant color on moving steel, the artist produces sculptures reflecting his singular perception of the world around him. His work is seen as a blend of folk art, pop art, and technically advanced construction. Fredrick Prescott resided in Santa Fe, New Mexico. For more information please visit

This sculpture was donated to the Town of Leonia to commemorate the life and contributions of Mr. John R. Stenken a 65-year resident and former Mayor of Leonia.


Landon, Adrian



Grand Cheval 1

Horses have always been a great inspiration to Adrian Landon and have become an irreplaceable part of his life. After studying Industrial Design at the the Academy of Art in San Francisco, traveling and working out in the American West and learning the trade of violin making with his father. He studied metal sculpture at The Art Student League of New York.  “It is all about the process, about shaping, forming, manipulating the element, putting my energy into it”.  Steel is his main medium and he uses the anvil and hammer to work the steel. Adrian Landon’s metal shop is currently located in Gowanus, Brooklyn, New York.


Dung Beetles Dung Beetles

Previously displayed at the Station Park Rotunda. These Dung Beetles where created to highlight the importance of recycling.

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