Flying Horse Outdoor Sculpture Exhibit

In his earlier years, Robert Osborne ran a successful art gallery on Madison Avenue in New York City and was then a private art dealer in the city before he turned his efforts to creating his own art. 

Years ago, as a young art dealer in Manhattan, I saw two art exhibitions: Robert Ryman’s first showing of his almost all-white painting and Eve Hesse’s “hang-ups” (curtains). Twice I was a witness to art historical events and, at the time, I didn’t know it. 

Now, as a working artist myself, with different knowledge, I find these artists and others of the ‘Dia generation’ (Michael Kimmelman’s label for minimalist and conceptualists) most relevant for today. Their work is about optics, light, architecture, and a unique philosophical approach to seeing (thinking). I am also investigating the string constructions of Fred Sandback (1943-2003), another artist of that era, appreciating his exploration of volume and space. These artists and their peers have informed my own approach to sculpture.

What I hope to offer is work that is a little more on the questioning side—to make viewers really look closely and think about the images and their interactions.

Accomplished sculptor, metalsmith, and furniture maker Jacob Kulin works on private, corporate, and public commissions internationally, ranging from smaller residential pieces to grand outdoor sculptures for commercial and public spaces. As a Boston-based sculptor of Danish heritage, his long-standing admiration for Scandinavian design has influenced his creative pursuits. The interplay of material remains a primary focus as he “strives to integrate the perfection of nature into most of his works and feels a deep-rooted connection to natural forms.” His approach to public sculpture begins by understanding the desires of the community while having collaborative dialogue with all agencies involved His process includes learning about the space for which a sculpture is intended to fully understand the visual and physical impact of the design. 

Kulin graduated from Skidmore College and received a Master of Fine Arts degree from Cranbrook Academy of Art.

The greatest influence on my lifelong fascination with tools and fabrication was a childhood spent in the industrial city of Worcester, Massachusetts. After attending Mass Art from 1968 to 1971, I worked as a logger, then as a teamster car hauler, during that time I explored various art forms and discovered my love for designing and executing works in steel. In 2006 I made the commitment to pursue my design work full time. My current work involves floral shapes fabricated from sheet metal to form garden gates, benches, and large plant vessels.

Jose Criollo grew up in Ecuador and immigrated to Worcester, Massachusetts six years ago. As a child, he entered art competitions and by age 18, Jose was working in a craft workshop where he learned to weld and work with scrap materials that were easily accessible. Eventually, he had his own workshop to create art and furniture, and traveled throughout Ecuador and even to Europe for exhibitions. His work is very popular with his fans in his new country. “His work is fabulous,” Juliet Feibel, director of ArtsWorcester where Jose is very active says. “There is wit and sophistication to the work. Someone working with found objects in this way has a lot of choices. He has a more intricate and precise vision that you see.”