Detail view of the head of a dragon in the Marshall Fredericks bronze entitled, "Friendly Dragons" at the Lena Meijer Children's Garden in Grand Rapids, Michigan.
Detail view of back and tail of dragon in the Marshall Fredericks bronze sculpture entitled, "Friendly Dragons" at the Lena Meijer Children's Garden in Grand Rapids, Michigan.
Detail view of back, tail and wing of dragon in the Marshall Fredericks bronze sculpture entitled, "Friendly Dragons" at the Lena Meijer Children's Garden in Grand Rapids, Michigan.
Front view of dragon in the Marshall Fredericks bronze sculpture entitled, "Friendly Dragons" at the Lena Meijer Children's Garden in Grand Rapids, Michigan.
Front view of sculpture of human head with book tied to the side of the head with a blind fold, by Bill Woodrow at the Meijer Sculpture Gardens in Grand Rapids, Michigan. "Listening to History, also featured the head and the book, bound together so that the rope also made a blindfold for the eyes of the head. Put that all together, and what does it mean? Well, to Woodrow himself, "I suppose very simplistically, that although all this knowledge exists, we still make mistakes. And we still seem to be governed by underlying principles of life, to do with power and the need to conquer things. What's called progress doesn't necessarily mean that to me. "But the imagery is open-ended. "There is no one set truth or meaning to the work. I know what I'm thinking about while I'm making it, and I am discovering new things all the time. That's why I'm making it, to discover what I'm thinking, in a sense. That's what other people will have to do when they look at it. They'll all approach it from different points of view, they won't all get the same story."--"A place among heroes" by Martin Gayford in the Telegraph website, 29 Feb 2000.
View of sculpture of human head with book tied to the side of the head with a blind fold, by Bill Woodrow at the Meijer Sculpture Gardens in Grand Rapids, Michigan. "Listening to History, also featured the head and the book, bound together so that the rope also made a blindfold for the eyes of the head. Put that all together, and what does it mean? Well, to Woodrow himself, "I suppose very simplistically, that although all this knowledge exists, we still make mistakes. And we still seem to be governed by underlying principles of life, to do with power and the need to conquer things. What's called progress doesn't necessarily mean that to me. "But the imagery is open-ended. "There is no one set truth or meaning to the work. I know what I'm thinking about while I'm making it, and I am discovering new things all the time. That's why I'm making it, to discover what I'm thinking, in a sense. That's what other people will have to do when they look at it. They'll all approach it from different points of view, they won't all get the same story."--"A place among heroes" by Martin Gayford in the Telegraph website, 29 Feb 2000.
Front view of sculpture of male figure balancing on a board over a barrel, with objects in each hand and a bottle balanced on his nose by Juan Muñoz at the Meijer Sculpture Gardens in Grand Rapids, Michigan. "The 1990s were the decade in which Muñoz began to develop his own unique style, breaking the traditional rules of sculpture. Muñoz liked to create a narrative with his sculptures. This narrative manifested itself in the use of sculptures of humanesque figures and positioning them so that it appeared as though they were interacting with each other. By doing this, Muñoz is asking the spectator to relate to the figures, or even, to become part of the sculpture altogether. Muñoz often described himself as a 'story-teller' and he used his sculptures to create a story that involved the spectator as well. His figures also tend to be a grey or monochrome colour which means that the figures appear to lack any personality or character, which further invites the spectator to question themselves. Juan Muñoz's materials of choice for his sculptures tended to be paper maché, bronze and resin,"--Spanish Arts website.
Front view of sculpture of male figure balancing on a board over a barrel, with objects in each hand and a bottle balanced on his nose by Juan Muñoz at the Meijer Sculpture Gardens in Grand Rapids, Michigan. "The 1990s were the decade in which Muñoz began to develop his own unique style, breaking the traditional rules of sculpture. Muñoz liked to create a narrative with his sculptures. This narrative manifested itself in the use of sculptures of humanesque figures and positioning them so that it appeared as though they were interacting with each other. By doing this, Muñoz is asking the spectator to relate to the figures, or even, to become part of the sculpture altogether. Muñoz often described himself as a 'story-teller' and he used his sculptures to create a story that involved the spectator as well. His figures also tend to be a grey or monochrome colour which means that the figures appear to lack any personality or character, which further invites the spectator to question themselves. Juan Muñoz's materials of choice for his sculptures tended to be paper maché, bronze and resin,"--Spanish Arts website.
Back view of sculpture of male figure balancing on a board over a barrel, with objects in each hand and a bottle balanced on his nose by Juan Muñoz at the Meijer Sculpture Gardens in Grand Rapids, Michigan. "The 1990s were the decade in which Muñoz began to develop his own unique style, breaking the traditional rules of sculpture. Muñoz liked to create a narrative with his sculptures. This narrative manifested itself in the use of sculptures of humanesque figures and positioning them so that it appeared as though they were interacting with each other. By doing this, Muñoz is asking the spectator to relate to the figures, or even, to become part of the sculpture altogether. Muñoz often described himself as a 'story-teller' and he used his sculptures to create a story that involved the spectator as well. His figures also tend to be a grey or monochrome colour which means that the figures appear to lack any personality or character, which further invites the spectator to question themselves. Juan Muñoz's materials of choice for his sculptures tended to be paper maché, bronze and resin,"--Spanish Arts website.