Madden, Bob



“Stone sculpture allows me to speak in a universal language. Creating a stone representation of an idea, a concept, or a feeling for the viewer to interpret through their own experiences begins the unspoken dialog. Stone is my choice of medium because it is perceived as a hard, cold, and unfeeling material. But when stone is presented as a soft or complicated shape, a person will react with amusement and amazement that opens their mind to new possibilities and prompts them to reexamine their views on the broader subject matter.

Generally my work will alternate between two major themes; works which explore our place in the universe, concepts of space, time, destiny, and chance, and the second major theme of interpersonal relationships and the connections that bind people together. Keeping in mind the quote from Socrates, “The unexamined life is not worth living”, I strive to develop works which ask the viewer to look beyond themselves and see how they relate to the rest of humanity and where they fit in a larger universe. The underlying tone of any specific work may be designed to provoke amusement or serious reflection, but it’s during those moments that the mind opens up to new perspectives. This is the objective of my work.

Carving stone has been my passion for over 30 years. I think of carving stone as a negotiation with the universe; what I want the piece to look like vs. what the stone will allow me to do. It’s humbling to realize that the natural processes that create stone can take millions of years but if I’m impatient in my efforts I can destroy the natural beauty and character of the stone with a single careless hammer strike.” – Bob Madden

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Von Schmidt, Chuck

O SIT by Chuck von Schmidt

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This sculpture was located on Broad Ave in front of the Leonia Elementary School. Artist statement; “Well, yes it’s a chair. What did you think it was? Often we think art is arcane. Sometimes it’s just as literal as the nose on your face. I spend most of my time as an artist solving problems. It’s like Jeopardy. The artwork is the answer to a question. Usually a question I have posed then answered. This time the question was to interpret a chair. Since we have become such a verbal species, language is integral to how we define and explain the world around us. So while you enjoy your surroundings, sit, assis. Seriously, try it out, take a selfie.

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Lombardo, Daniel



My art is first informed by the humanfigure, its essential vertical presentation with a focus on unique but relatedfrontal and rear views, and the gestalt of interconnected shapes that are bothlinear and volumetric. It is secondarily informed by totem poles of the NativeAmericans of the Pacific Northwest and other tribal cultures from around theworld, with their stacked and interconnected elements that may represent keyfigures or concepts in their myths and legends, combined to “tell a tale” orremind of basic cultural tenets. Though my sculptures do not represent anyspecific events, I imagine my pieces as abstract tales both of personal eventsor generally themes of human experience.

The pieces develop from gesturalsketches based on this visual language of interconnected forms merging anddiverging usually along a vertical axis. Most recently I have worked in forgedsteel which has fostered new gestural elements that this material inspires.

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Poast, Michael

Lumen de Lumine


The split wood and steel sculpture by artist and composer, MICHAEL POAST, is a manifestation that relates to his musical composition written and performed with the InterMedia Ensemble at Saint Peter’s Church at Citicorp Center, NYC, in 2013.  Lumen De Lumine, meaning “Light of Light”, is part of the Credo section of the Latin text that Poast used to compose his Color Music Mass.  Being sculpted at the same time, splitting wood planks with a sledge hammer and thrusting them ,one after the other,  into the vertical steel tube, that forms the lower section of the sculpture, it was as if the split wood, the action of the splitting, if one could equate it with the splitting of the atom, released a bright light, an expansion of energy.  The addition of the curved angle  bars of steel, signifying this expansion, became the physical reality of this radiating light. Lumen De Lumine, incorporating  steel and charred split wood, is part of a series of sculptures using these materials exclusively.  A large installation, Fence Sonata (2014), newly re-composed for the Unison Art Center in New Paltz, NY, incorporates these same materials, while also using the 4th dimensional quality of brilliant color as spatial exploration.

MUSE IV by Michael Poast

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Muse IV,  installed at Station Parkway in Leonia, has been exhibited in the sculpture fields of Saunders Farm, sponsored by Collaborative Concepts in Garrison, NY, and in two locations in New Rochelle, NY, WildCliff Park, and Trinity Church.  Muse IV, in reference to the mythological muses, is fourth in a series of muse sculptures, each representing a different category, such as Music, Poetry, Fine art, Dance, Philosophy, etc. Poast explains: “When I start a creative work, I wait for the muse to come to me,  then I can compose or sculpt with intensified inspiration.”

MICHAEL POAST is on faculty of St. John’s University and Pratt Institute, where he had a solo exhibition of his Color Music Manuscripts in March 2014.       Water Music, a large steel sculpture installed on the waterfront boardwalk in Yonkers, NY; the Unison Art Centers installation, Fence Sonata; and his piece, Atlas, that will be re-sited in Beacon, NY, are among his most recent projects.

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Bailis, Beth

House of Cards

House of Cards

Wood, acrylic paint, 96” X 48” X 35”

“That’s the way it’s put together, flat planes leaning against each other, stable and yet not.” A metaphor for our lives, these painted wooden boards, cut into sweeping and angular shapes, lean and support each other into an interlocked form, stabilizing the other, yet acting in contrast. The brightly painted surfaces reach out towards the viewer, forms interacting with space, interacting with color. HOUSE of CARDS appears as an architectural structure until the viewer engages more closely, in which the solid shapes become more directional and vivid, painted, brushstrokes of color command the attention of space.

The artist, Beth Bailis, a native New Yorker, who lives and maintains a studio in Long island City, Queens, graduated from Maryland institute College of Art, and when returning to NYC, received an MFA from City College, CUNY. Primarily a painter, her work spans from landscape to abstracted compositions to mixed media configurations, entitled Fusion Paintings. Bailis is also a muralist, her most recent public mural is installed in the Roosevelt Island Motorgate Parking Garage in the entrance Atrium. Described by well  known artist, Al Loving, whom Beth studied with, as “material madness”, her Fusion Relief Sculpture  can be viewed currently at Unison Sculpture Garden in New Paltz, NY.

This piece, HOUSE of CARDS, has been exhibited at BWAC ( Brooklyn Waterfront Artists Coalition), annual sculpture show at Brooklyn Bridge Park in Dumbo, Saunders Farm Annual Sculpture exhibition with Collaborative Concepts in Garrison, NY, and Metalmen Sales in Long Island City, Queens, along with other Fusion works by the artist.  Bailis’ art can  be seen in the permanent collections of the City College Art  Collection,  William Whipple Museum at Minnesota State University, Wilson College, Chambersburg, PA, and long term loan at LaGuardia Community College, LIC, NYC.

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Saco, Don


Don Saco
Welded steel 48” high

Don started figurative sculpting as a young man, then worked as a clinical psychologist. When he got back to his art it evolved from figurative to abstract. Breaking free of true anatomy was liberating. This piece is powder coated steel, sprayed in a rich blue color to enhance the form.

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Knowlton, Grace



Originally a painter, Grace Knowlton has traveled freely through various art forms, methods, and materials.  In the past she has had exhibitions that included works of her photographs, drawings, paintings, and sculptures – the latter made from both natural and synthetic materials.  All of the works are made from copper and show various stages of patination.  The surfaces – from the dulled copper to the white patina – come from the various solutions applied to the shell-like enclosures and from their exposure to the elements of nature.  The organic seams that join the sheets of copper and the mossy coloration and textures combine to make surfaces that are extraordinarily evocative.  The artist has said, “I could tell you my sculpture is informed by the inner space, that I place it in the context of interrelated forms, or I could talk about the significance of surfaces.  Actually I am a magician – I create through an ancient practice involving the laying on of hands.”  In these sculptures different forces of texture, form, space, and color compose a galaxy of natural strengths.

Grace Knowlton has exhibited extensively throughout the United States.  Her work is in the collections of The Metropolitan Museum of Art, The Brooklyn Museum of Art in Brooklyn, The Victoria and Albert Museum in London, the Yale University Art Gallery in New Haven, among many others.

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Laxman, Eric David


david laxman

Eric David Laxman is an accomplished sculptor and furniture designer who has created a unique studio and showroom at the Garnerville Art and Industrial Center near Haverstraw, New York.  He has exhibited his diverse works throughout the metropolitan area and nationwide.  Laxman was awarded the Rockland County Executive Art Award for Visual Artist in 2007 and was recognized by Rockland’s business community in the “Forty Under Forty” Award Ceremony. Laxman has recently completed a large sculpture commission for the City of Sculpture in Hamilton, Ohio and has completed commissions for the Greenwich Hospital in Connecticut and the Summit Medical Group in New Jersey.



In the past ten years he has extended his unique sculptural sensibility into the realm of metal furniture and functional art.  His custom furniture and sculpture has been featured in The New York Times, Journal New Home Design Magazine, The Artful Home, Hudson Valley Magazine, The Hook, Metrohouse Magazine, Rockland Magazine and Rivertown.

Laxman writes: “For me sculpture is a personal journey and exploration that helps me understand and make sense of the world around me.  In the sculptures presented here, I have physically wrestled with hard stone and metal in order to develop a means for integrating disparate elements into coherent abstract and figurative compositions.  This is fueled by a desire to express the themes and transformation, growth, balance and movement.

“It is my intention to create sculptures that seem spontaneous and inevitable using a process that is extremely labor intensive and deliberate.  Seeking is a constant; to transform my materials while at the same time respecting and acknowledging their unique properties and their raw fundamental nature.  This duality, a recognition of the discreet parts and the creation of a new unified whole is the essence of my creative process.

“Cutting, drilling, splitting, and breaking marble and granite; forging, welding, and reassembling steel and bronze has become a metaphoric struggle for achieving balance.”

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Hawkins, Gilbert


Waldorf A

Gilbert Hawkins is a Leonia resident and has exhibited extensively in New Jersey, New York, Pennsylvania and the Connecticut area.  He has taught in several Universities and schools, notably PACE and New York University.

His work has clean lines that encourage the viewer to look beyond the space and incorporate the sculpture in its environment. The edited form and well crafted metal have a strong presence that impacts its surroundings in surprising ways. “Waldorf A”, in blue [powder colored steel, graces the front of the Annex Building.

As the sculptor explains: “The title “Waldorf A” relates to the social genre of New York City in the late fifties.  I recall the uniformed doormen of the hotels and posh apartment houses on Manhattan’s east side, polishing the brass door decorations while patrons passed unnoticing. The search for a literal name is quite inadequate nomenclature for the sculptural expression.  “Waldorf A’ is a constructivist sculpture composed of shapes and forms found in architecture or industry. The individual pieces are bolted together, rather than welded, because a union created by bolting is both difficult and expressive.  In ‘Waldorf A’ the viewer’s eye is drawn to the bisected strong circle at the top of the monolithic construction with each individual piece adding it’s own character to the overall composition.

Though my work has changed from that 1980 purely constructivist period to a search for landscapes, it still remains minimalistic.  No one element can be considered decoration or flourish. The only elements in the sculpture are the ones needed for structural composition or expression.”

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