Lloyd Burridge, Commissioner

www.windsorsculpturepark.com

Department of Parks & Recreation, 2450 McDougall Street, Windsor, Ontario N8X 3N6 CanadaTelephone: 519-253-2300 • Toll Free: 888-519-3333

...a museum without wallsInstead, the Odette Sculpture Park is

unified by its difference and the rich-

ness of its multi-textured variety.

A visitor on this path is continually

presented with the infinite complexity

of our shared human experience.

We see work from very different

places and people: the naturalistic

power of Pauta Saila’s Dancing Bear

meets the industrially inspired work of

Sorel Etrog; the fluid human form of

Dame Elisabeth Frink’s Flying Men is

juxtaposed with the weighted geo-

metric shapes of Windsor’s own

Joseph DeAngelis.

It is a strange balance, a sort of

converging divergence that shows so

much difference only to suggest that

perhaps we are all, in some small way,

connected.

The Odette Sculpture Park is made

possible by the generosity of the P&L

Odette Foundation. The Park is

located along Riverside Drive West

between the Ambassador Bridge and

Church Street. Open dawn to dusk.

inding along the waterfront

parkland of Windsor, Ontario,

Canada’s southernmost urban centre,

the Odette Sculpture Park locates itself

as a point of physical, political and

philosophical intersection.

This is contemporary sculpture on

the border. It is a meeting place for

expression, an environment where

work from Canada and across the

world combines and contrasts.

The collection purposely does not

conform to any one artistic vision.

but simple steel construction, a basictriangular shape and is painted in thatrecognizable cautionary orange of heavy-duty industrial machinery. Etrog’strademark central hinge is also promi-nently featured.

At first glance the piece might looklike something left behind by a roadcrew. “Is this just a plough?” a viewermight wonder. It is a justified firstimpression.

But Etrog makes us reconsider. Thepiece asks for a different set of questionswith a different sort of emphasis: Is thisjust a plough? Or, can a plough be art?These tools we have made and used withsuch great practical success during thiscentury — do they speak for us? Is thisour art?

4. The King and QueenIn many ways the addition of SorelEtrog’s The King and Queen into theOdette Sculpture Park marks a truemoment of “coronation” for the city’swaterfront collection. The work of thisRomanian born artist speaks veryspecifically to our city, reflecting passionsand ideas which are very close to homefor many of us.

Etrog’s sculpture probes the relation-ship between man and machinery andattempts to illustrate an expressiveintersection between the individual andindustrialism. The machinery of themanufacturer become the tools of theartist. Steel plating, sheet metal, bolts,rivets and hinges are prominentlyfeatured in this work, illustratingcontact, tension and articulation. In our

city this theme extends,stressing perhaps that allwork is at some level artistic.The King and Queen was

constructed inWindsor atDeMonteFabricationInc.

Though the team at DeMonte isusually occupied with projects for theconstruction or automotive industries,Etrog himself observed that their skillwith his piece was “as good as anywhereI have ever worked in the world.” TheKing and Queen can be seen as thecrowning piece for the Odette SculpturePark simply because it speaks so directlyto our city’s industrial experience, ourfaith in craftsmanship, and our beliefthat we are all able to bend, shape andconnect the materials of our dailylives into works of lastingexpression.

Pauta SailaPauta Saila was born in 1916in a small camp on southBaffin Island in the North-west Territories.

In 1967 he was chosen torepresent Canadian Inuit Sculptureat the International SculptureSymposium and also participated inthe Eskimo Sculpture exhibit at theWinnipeg Art Gallery. Following thesetwo historic showings, Saila has beenrecognized as one of the elders of Inuitart. His work has been presented inhundreds of exhibitions and he is

featured prominently in several impor-tant public and private collections.Pauta Saila continues to live and work inCape Dorset, Baffin Island, Nunavut.

3. Dancing BearThe massive arctic polar bear, distilled tothe base elements of its raw strength andintricate balance, is Pauta Saila’s mostrecognizable subject. The piece shows agreat respect for the beauty and power ofnature’s art. The shape of Dancing Bearrepresents one human’s imaginationtrying to understand or hold on to theincredible energy of the natural world.Rather than attempt to render the bearrealistically, Saila’s work sees the animal’smovement in a more simplified fluidform. Balance is emphasized again.Dancing Bear has already become abeloved Windsor landmark, and one ofthe favourite stops on any walk throughthe Park.

...a museum without walls

Toni PutnamToni Putnam was born in Boston andstudied at the University of Rochester,l’Ecole des Beaux Arts in Fountainbleu,France and the Atlanta School of Art. In 1971 she co-founded the Tallix ArtFoundry in Beacon, New York where shewas a principal for fourteen years. Dur-ing this time she explored and refinedthe innovative welding techniques forsheet copper, which have now becomeher trademark.

She has sustained a long time interestin the copper medium and become anexpert patinator. She has exhibitedextensively in the eastern United Statesand presented her work internationallyin Tuscany, Italy and New Delhi, India.In 1996, Toni Putnam was elected as aFellow of the National Sculpture Societyof America.

1. Trees“Creation is mysterious,” says ToniPutnam. “I thoroughly enjoy the inter-action between what I think is going tohappen and what actually happens.”

Putnam is intensely interested in thetactile elements of sculpture, the true“feeling” of a piece that can only beachieved through touch. Each one ofthese trees has been carefully cultivated.Using welding techniques which areuniquely her own, Putnam focusesintense heat as a force of uncontrollablechange. In this heat each tree “grows” inits own way. Red, green and brown arecontained in each piece of metal. Treesis a hands-on sculpture. The viewer isinvited to reach out and feel the uniquetextures and surface of each work.

Sorel EtrogArguably the most critically celebratedCanadian sculptor alive today, SorelEtrog’s impressive and multi-faceted career hasspanned morethan forty

years. In that time he has been prolificas a sculptor, a painter, an illustrator, apoet and a filmmaker. His work hasbeen displayed at major internationalgalleries around the world from Israel toSingapore, and from India to Switzer-land. In North America his position issecure in many of the most prestigiousprivate and public collections, includingthe Solomon R. Guggenheim Museumand the Museum of Modern Art in NewYork City, as well as the National Galleryof Canada in Ottawa and Le Musée desBeaux Arts in Montreal.

For decades Etrog’s sculpture hasplayed an important role in the develop-ment of the Canadian arts. In 1988, hewas commissioned to represent Canadawith a sculpture for the SummerOlympic Games in Seoul, South Korea.In 1994, the Government of Canadadonated the sculpture Sunbird to

Normandy, France, commemorating the50th anniversary of the liberation byCanadian forces. In 1967, Etrog wascommissioned by Expo in Montreal tocreate two large sculptures for theWorld’s Fair, and in 1968 he was askedto create the small statuettes whichwould serve as the Canadian FilmAwards. Though these awards are nowmore famously known as “The Genies,”they were originally called “Etrogs.”Throughout his long career Etrog hasbeen closely associated with many of thetwentieth century’s greatest thinkers andartists.

He has collaborated with distinguishedinternational literary figures SamuelBeckett, and Eugene Ionesco and alsomaintained a close working relationshipwith Canada’s famed communicationtheorist Marshall McLuhan. In 1995Etrog was named a member of theOrder of Canada and in 1996 wasappointed Chevalier of Arts and Lettersby the Government of France.

2. Space Plough IISpace Plough II provides a goodrepresentation of Sorel Etrog’s famousfascination with the industrial themes ofthe twentieth century. The piece asksfor a reconsideration. It asks the viewerto try bringing machinery into themuseum, to see that even the mostutilitarian objects of our creation alsohave at least some artistic and expressivecomponent. Space Plough II has a strong

The Odette Sculpture Park

Sorel EtrogThe King and Queen

painted steel 10’ high

Pauta SailaDancing Bear

bronze with selected patina8’ high

Toni PutnamTrees

welded copper5 pieces,

4’ to 7’5” high

Sorel EtrogSpace Plough IIpainted steel 17’ wide x 8’ high

award is The Rabin InternationalPresentation Sculpture, Los Angeles,1996. He is a member of the RoyalCanadian Academy and the OntarioSociety of Artists.

6. ConsolationIn Joe Rosenthal’s art the human figureis presented with impressive weight. Thesolid rounded shapes of Consolationdisplay a substantial inner fortitude,what some critics have called his“enduring universal toughness.” Thisartist does not portray the human formas a fragile thing, teetering on the edgeof collapse. Instead, Rosenthal’s heavysculpture of two seated women seemsable to hold its own ground, able tomark a place for itself against the chaosof conflicting forces.

Bruce WatsonBruce Watson was born on a sugarplantation in British Guiana (nowGuyana). He came to Canada in 1957and entered the Ontario College of Art,graduating in 1961. He has exhibitedacross Canada with many shows inMontreal and Toronto, includingseveral one man shows at theAlbert White Gallery.

His work has been recognized andsupported by the Canada Council andhas been featured in the public collec-tions of the Canadian Department ofExternal Affairs and the City of TorontoSculpture Garden. Watson’s sculpturealso appears in many other private andcorporate collections across NorthAmerica and around the world.

7. Union SixIn Watson’s fluid sculpture the viewer ispresented with evolving forms throughvarious stages of organic development.Watson places all his emphasis on thework itself. “You do these things andthen let them speak for themselves,” hesays.

Maryon KantaroffOne of Canada’s most recognized sculp-tors, Maryon Kantaroff, was born inToronto in 1933. She studied piano atthe Royal Conservatory of Music andmajored in art and archaeology at theUniversity of Toronto, receiving herhonours degree in 1957. She was assis-tant curator at the Art Gallery ofOntario from 1957-1958 and then pur-sued post-graduate studies in Americanethnology at the British Museum inLondon. While in England she alsostudied at Reading University, the SirJohn Cass College of Art and the re-nowned Chelsea College of Art. Inaddition she has been an art critic for

the British Broadcasting Corporationand Eastern Europe Broadcasting.

At home, Kantaroff has been amajor political and philo-sophical presence in

Canadian sculpture for morethan 30 years. She is a found-ing member of the TorontoNew Feminists, and con-tinues to be committed tothe human rights projects ofAmnesty International and

Artists for Peace. In 1974she established the Toronto

Art Foundry andoperated it until1988, casting bronzesculptures for herselfas well as other

artists across Canada and the UnitedStates. She has exhibited extensively inEngland, Europe, Canada and theUnited States, including several soloexhibitions in London, Milan, Munich,Toronto, Montreal, Chicago, LosAngeles and Sophia, Bulgaria. Herprivate commissions include monu-mental works for the Canadian

Embassies in Tokyo and Mexico City aswell as several sculptures for courthouses,hospitals, synagogues and estates in theToronto area.

Kantaroff has received the YMCA’sWomen of Distinction Award forcourage and outstanding achievement inthe arts, and, in 1992, she was recog-nized by the Sculptor’s Society ofCanada with its prestigious President’sAward.

8. The GardenIn The Garden, Kantaroff returns againto her life-long thematic interest in therelationship between woman and man.

“It has always been there for me,” saysthe artist. “In the beginning I wasn’teven really aware of it, but others couldsee that my shapes were changing, theharder lines were softening, becomingmore fluid.” In this sculpture, it is theinterdependency of the two figures thatis placed in the foreground. Rather thanmarking a clear separation between themale and female halves of this piece,

...a museum without walls

Stephen CruiseStephen Cruise was born in Montreal in1949. He has traveled around the worldand lived for extended periods of time inSeoul, South Korea and Tokyo, Japan.

Cruise’s sculpture has been exhibitedacross North America and featured inmany international shows, includingthree recent appearances in the BienalBarro de America in Caracas, Venezuela.

Cruise has won several importantcommissions for public art in the Metro-politan Toronto area. The six pieces ofhis Spadina Avenue series, Places in aBook, reinforce his interest in ideas oflocalized history. Cruise’s work has beenrecognized with grants and awardsfrom the Canada Council and theOntario Arts Council. His sculptureis featured in the collections of theNational Gallery, the Art Gallery ofOntario and the Canada Council ArtBank.

Stephen Cruise is also an accom-plished martial artist, with a 4thdegree black belt in Kendo, (Japanesesword fencing) and a 5th degreeblack belt in Iaido (Japanese sworddraw).

5. Bell Measure MCMXCIX, 1999

Stephen Cruise’s BellMeasure is actually twopieces combined into one.The Bell of the title recallsthe importance of manydifferent kinds of bellsthat once rang out overour communities,each one with itsown kind ofcalling.

The ringingof church bellsrecorded the passingof time for generations of people. The same sound also marked significantcommunity events. Church bells rangfor religious ceremonies and for impor-tant town meetings, for family gather-ings, even for emergency fire alarms.Hand held school bells called children toclasses or released them for recess.

The ringing of a dinner bellmeant it was time to putdown work and return homefor a meal. In a veryintimate way these bells“measured” out the regularspan of a life and marked itsmajor events.

Cruise’s work takes thebell out of the belfry andputs it on display. It asks usto take a closer look at anart form of the everyday.His work invites the viewerto appreciate the precision,

balance and craftsmanshipof these ordinarymasterpieces that werenever really seen bythe public.

The Measure ofCruise’s title appliesto the long wooden handle of thepiece and references the image of abar measure, a calibrated ruler usedby archaeologists to take measure-ments of depth and range. Thebar measure is a kind of historicalmarker. In an excavated site itnegotiates between the present

and the past; it standsbetween the buried cultureand the researchers whoattempt to unearth it.The bar measureprovides archaeologistswith a sense of scale.

A single bronze bird islocated on the east

side of the bell.

The presence/memory of the cardinalguides the echo of Bell Measure.

Stephen Cruise has produced a workthat balances his interest in communityand archaeology. Like a time capsule his

Bell Measure gives us a history of ourpresent. As a true sign of its time, thedate of the work’s installation is stampedin Roman numerals on the bottom rimof the bell: MCMXCIX. Cruise’s mass-ive and silent Bell Measure marks itsterritory on the old side of our shiftingmillennium, before the take over ofstreamlining abbreviations like “Y2K” orthe ominous sounding Roman numeral:MM.

Joe RosenthalJoe Rosenthal was born in Romania andcame to Canada in 1927. He served inthe Canadian Armed Forces from 1942-1945. He studied at the OntarioCollege of Art and continued his learn-ing on extensive sketching trips thoughthe Northwest Territories, Mexico,Cuba, England, Holland, France, Italy,Spain, Greece, Jordan, Israel and Egypt.

His work has been recognized withawards from the Art Gallery of Ontario,the Canada Council and the TorontoOutdoor Exhibition. His awards alsoinclude first prize in the National OpenSculpture Competition for the Dr. SunYat Sen Monument. Since 1957, hiswork has been exhibited in many soloand group shows throughout NorthAmerica and Europe. His most recent

The Odette Sculpture Park

Joe RosenthalConsolation

bronze 5’ high

Stephen CruiseBell Measure MCMXCIX, 1999bronze and wood7’2” wide x 14’ high

Maryon KantaroffThe Garden

bronze6’ high

Bruce WatsonUnion Sixbronze4’ high

Edwina SandysThe artistic appeal of Edwina Sandys liesin her diverse subject matter whichranges from the lighthearted to the pro-found. Her clearly recognizable styleuses positive and negative forms topowerful effect.

Internationally renowned as a sculptor,British born Edwina Sandys divided herworking life between London and Tus-cany, Italy before moving to New YorkCity where she now lives. A “citizen ofthe world” in more ways than one,Sandys’ work occupies a position ofcentral importance in the closely relatedrealms of international art and politics.Her work has always reflected a strongsocial consciousness, focusing on severalkey issues of contemporary society:children, family, war and peace, womenand the environment. Her monumentalsculptures have been installed at UnitedNations centres in Geneva, Vienna, NewYork City and Rio de Janeiro. She is therecipient of the United Nations Societyof Writers and Artists 1997 Award.

In 1990, her political and artisticpassions were combined once again in amajor piece entitled Breakthrough, in-stalled at Westminster College, Fulton,Missouri where, in 1946 Winston S.Churchill, Edwina’s grandfather, madehis famous “iron curtain” speech.Breakthrough is constructed from eightmassive sections of the Berlin Wall.Male and female forms cut out of theconcrete wall invite people to passthrough, both physically and emotion-ally, this formerly impenetrable barrierbetween Communism and the FreeWorld. Ronald Reagan, MikhailGorbachev and Margaret Thatcher haveall walked through Breakthrough anddelivered their own defining speechesthere, providing a permanent linkbetween the world’s varied people andplaces.

11. Eve’s AppleEve’s Apple displays Edwina Sandys’continued interest in positive andnegative space. This very feminine handwith its nail polished fingertips is con-structed out of three separately cut panes

of steel. Approaching the sculpture fromthe side, the piece begins as a series oftwo dimensional straight lines, but as theviewer comes closer, other angles beginto develop and the work gains a thirddimension, a depth which reaches itsfullness only when the viewer is staringdirectly into the centre of the hand.

Eve’s Apple captures that moment inthe biblical story just after Eve has takenher important bite from the fruit ofknowledge. It is a complex turningpoint; an intersection at which know-ledge is achieved and innocence is lost.The sculpture represents such tensions

within its own construction and theperpetually shifting interplay of light andshadow it creates. At every differenttime of day, the sculpture’s multi-layeredsurface casts different patterns, uniquecombinations of darkness and light. The apple is displayed prominently, heldalmost proudly in the fingertips,showing off the marking of its bite.

Like most of Sandys’ work, Eve’s Appleis defined by what is missing. Here weare presented with that famous cut offruit that divides our innocence fromexperience, the absent bite thatsimultaneously offered and took away.

...a museum without walls

Kantaroff draws the viewer’s attention totheir blurring similarity. Both figuresbalance their hard and soft elements,making it impossible to mark the defin-ing characteristics of gender. The twohalves encounter each other as equals,and in their coming together, theyillustrate a simple but profound desirefor free interaction and clear commun-ication.

10. Cordella“I think I was asking, where do we allcome from?”

In Cordella we see Kantaroff ’s atten-tion shifting to a universal fascinationwith the idea of origins. The piece isdynamic and seems to be growingorganically.

Cordella is caught up in the evolution-ary tension of being a living thing.Beginning at the microscopic level, onehalf of this clam-shaped sculpture seemsto represent a cell moving through theearliest stages of its division. The otherhalf, more rounded and smooth, holds

on to the perfectly natural shapeand symbol of an egg. Cordellaalso restates Kantaroff ’s interest inpaired shapes or matching dualities.The two hemispheres flow intoeach other. They emphasize againthe ideas of fluid natural develop-ment and contact. It is an import-ant work for the artist and for theOdette Sculpture Park. “I think this one piece almost sumsup my philosophical vision of theworld,” states the artist.

Dame Elisabeth FrinkDame Elisabeth Frink was born inThurlow, Suffolk, England in1930. From 1947-1949 sheattended the Guilford School ofArt and from 1949-1953 shestudied under Bernard Meadowsand Willi Soukop at the famousChelsea School of Art. Soloexhibitions of her work have beenstaged in most of the world’s finestgalleries. Among her best-knownworks are the Eagle Lectern inCoventry Cathedral, Man on aHorse in Piccadilly Circus and theKennedy Memorial in Dallas, Texas.

Elisabeth Frink’s honorary titlesinclude honorary degrees fromOxford, Cambridge, the Universityof Surrey, University of Warwick,

and University of Exeter. She wasawarded a Doctorate by the Royal

College of Art in 1982 and in1990, a book entitled ElisabethFrink: Sculpture and Drawing1950-1990 was published inWashington, D.C. by theNational Museum of Womenin the Arts. The British PostalService released a commem-orative stamp honouring heras one of the outstandingwomen of the 20th Century.Elisabeth Frink died in 1993.

9. Flying MenIn the work of Elisabeth Frink, theviewer is presented with sculpted bronzein its most essentialized form. Strippedof any ornament or stylistic conceit, therough textured, almost unfinished,Flying Men are held in a straightforwardaction. They move across an open spacetogether with their arms outstretched,perhaps reaching for something, perhapsfumbling forward. As some critics havenoted, Frink’s art is without “theatricalfat;” there is no “falsity of feeling.”Some see these figures held in simplepleasure, and others interpret a paincaused by rootlessness and loss. TheFlying Men illustrate a full realization ofphysical and spiritual freedom, whichmay or may not be entirely joyful.

The Odette Sculpture Park

Edwina SandysEve’s Applepainted steel

12’4” high

Maryon KantaroffCordellaaluminum

5’ high

DameElisabeth Frink

Flying Menbronze with

selected patina two figures, each 8’ high

Gerald GladstoneGerald Gladstone was born inToronto, Ontario. In the earlyyears of his education he workedin commercial advertising, event-ually reaching the position of artdirector with McLaren Adver-tising. In 1959, with the assis-tance of several major Canadiangrant awards, Gladstone left thebusiness world in order to “adver-tise the spirit” in the world of fineart. He was resident sculptor atthe Royal College of Art inLondon, England where he metHenry Moore who became hismentor and friend.

Gladstone’s work has beenexhibited in major galleries acrossNorth America and Europe.Some of his noteworthy comm-issions include the Martin LutherKing, Jr. Memorial in Compton,California and three major worksfor Expo ‘67 in Montreal. He hasbeen a lecturer at the University ofToronto and has been called uponto judge other sculptures undercommission for private corpor-ations and organizations.

14. Morning FlightThe geometric sculpture of GeraldGladstone presents a strikingmodel of interdependence. In Morning Flight we are presen-ted with a complex balancing act.Each element retains an individualshape and character while remain-ing inseparably linked within alarger, more complicated surroun-ding environment. The piecedraws the viewer’s attention to theuniversal shapes of nature. Thinkof the perfect v-formation ofCanada geese in flight, or thebalanced internal divisions insideevery orange. What powers thiskind of geometry? Gladstone’s artrepresents a fascination with theidea of infinite natural order,“everything in its place and a placefor everything.”

...a museum without walls

12. Penguins on a Waterfall

The most regal of all penguins, theEmperor penguins in the OdetteSculpture Park – painted by artistYolanda Vandergaast – stand erectoverlooking the Detroit River. Penguinson a Waterfall presents a playful image ofstrength and endurance. Standing talleven in strong winter winds, theseflightless birds are searching for homeand awaiting summer. Each penguinstands independently yet united with thelandscape and the community of three.

Joseph DeAngelisJoseph DeAngelis was born inProvidence, Rhode Island in 1938 andbecame a landed immigrant in Canadain 1969. Since that time, he has been aprofessor in the School of Visual Arts atthe University of Windsor. DeAngelisstudied at the Rhode Island School ofDesign and earned his Master of FineArts Degree from Syracuse University.In 1976 he was selected to participate inSpectrum Canada, as part of the Cana-dian art exhibition for the Montreal

Olympic Games. In 1977 he was one of five sculptors selected to representCanada in the Pan American WoodSculpture Symposium in Vancouver,British Columbia.

His work is included in many publicand private collections. He has exhib-ited in numerous local exhibitions aswell as shows in Toronto, Detroit, NewYork, Germany, Italy and Spain.

13. RinterzoTitled with the Italian word for a billiardshot and interactive in almost everyelement, Rinterzo invites the viewer tobecome a participant, to enter into agame which is simultaneously playfuland sensual. The universal shape ofthese elegantly coloured spheres holdsinfinite possibilities for interpretation.Are we looking at the balls in a child’sgame, or is there the suggestion ofsomething more massive, maybe arepresentation of the planets?

Rinterzo is almost a physical reflectionon the riverfront as a defining site forWindsor. The piece is fully integratedinto the slope of the hill and the roundvertical portal in the middle of thefountain provides the viewer with aperfectly centred picture of the Ambass-ador Bridge, held behind a pane ofrunning water. Rinterzo asks us to lookagain, to study our own landscape, andto wonder about our location in thisparticular place at this particularmoment in time.

The Odette Sculpture Park

Joseph DeAngelisRinterzo

reflection pool with coloured terrazzo spheres16’ wide x 28’ long

Gerald GladstoneMorning Flightpainted plate steel

19’6” high

Painted by Yolanda VandergaastPenguins on a Waterfall

painted aluminum3 figures, 3’ to 4’ tall

...a museum without wallsThe Odette Sculpture Park

10. Cordella

11. Eve's Apple

12. Penguins on a Waterfall

13. Rinterzo

14. Morning Flight

15. Tohawah

16. Tembo

17. Chicken and Egg

18. Neish Do-Dem (Two Marks)

19. Tower Song

20. Audio Corridor

21. Business Man on a Horse

22. Columns

23. Craft

24. Consophia

25. Anne

Sculptures in the Odette Sculpture Park1. Trees

2. Space Plough II

3. Dancing Bear

4. The King and Queen

5. Bell Measure

6. Consolation

7. Union Six

8. The Garden

9. Flying Men

WarMemorial

Riverside Drive West

AssumptionPark

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FISHING DECK

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Huron Church

Patricia

Sunset

California

Askin

Randolph

Rankin

Campbell

Bridge

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Curry

Cameron

McKay

Elm Oak Craw

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Janette

Bruce

Church

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Sculptures in other Windsor locations... City Hall: Space Composition, Red (Provincial Building) – Haydn Davies, Inukshuk (City Hall Square) – Paulette Hunt and Matt Beasley, Ukrainian Head – Peter Kulyk, The Kiss – Ian Lazarus;

Cleary International Centre: Me and My Love – M.B. Zoran; Coventry Gardens: The Sisters – Morton Katz; Ford City Parkette: Generations – Mark Williams; Vision Corridor: Lady – Joe Rosenthal, Ribbon of Friendship – Yin

Xiaofeng; Windsor Airport: Homage to a Higher Power – Al Green, From – Carl Tacon; Windsor Civic Green: Tower of Freedom – Ed Dwight; Windsor Public Library: Guitar Man – Al Green

In 1998 Windsor was named the Sculpture Capital of Canada by the Sculptor’s Society of Canada because of itsinterest in and dedication to art in public spaces, particularly the support and development of the Odette Sculpture Park.

Lloyd Burridge, CommissionerYou are invited to discover and explore the beautiful parkland along Windsor’s waterfront.

Human ResourcesDevelopment Canada

Développement desressources humaines CanadaProduced with support from:

Morton KatzMorton Katz began his career as anarchitect, and held a professorship at theUniversity of Toronto, Faculty of Archi-tecture for ten years. During that time,sculpture became a natural, creativeextension of his profession. He hasexhibited at major Toronto galleriesincluding the John Black Aird Gallery,the Sculptor’s Society of Canada Gallery,the Koffler Gallery and the OntarioAssociation of Architects Gallery. Hiswork is featured in private collectionsacross the United States and Canada andhas also appeared at the Art DialogueGallery in Buffalo, New York as well asthe Vineland Sculpture Garden inVineland, Ontario. Katz continues towork in the field of architecture whilemaintaining lecturing positions at theAvenue Art School, and the Art Centreat Central Technical School.

17. Chicken and EggMorton Katz’s whimsical Chicken andEgg continues the artist’s fascination withminimalist sculpture in suspension, andalso completes an interesting trio or“flock” of bird-inspired artworks in theOdette Sculpture Park. Compared withHarris’ massive Tohawah and themomentarily arrested take off ofGladstone’s geometric Morning Flight,Chicken and Egg focuses more on achild-centered perspective. Thissculpture presents kids with a strangesort of feathered friend, built out of theodd, but instantly recognizable mediumof a gigantic industrial chain. Katzhimself collected every one of the fivehundred sprocket links that make up the chain and the whole bird has beenlovingly welded into a shape thatdisplays a balance between a good senseof humour and a carefully considereduse of proportion and tension.

The fragile chicken is juxtaposed withthe solidity of its egg which is carved outof solid marble. The two make an inter-esting pair, so entirely different fromeach other that it is difficult to under-stand how they could also be so directlyrelated to each other in a sculpture or inlife. Yet we do know that they are

connected somehow, these two comicpartners, tied together by the weirdmystery of nature and one of the oldestriddles in the books.

Wilmer NadjiwonWilmer Nadjiwon lives with his familyin Tobermory, Ontario but has spentmany years travelling to VancouverIsland studying the art of the totem pole.He has exhibited his work in Canada,Europe and the United States. He wasborn at Cape Croker Reserve on theBruce Peninsula and is committed topreserving his people’s heritage andtradition.

Harold RiceHarold Rice, a Coast Salish StatusIndian, was born on his parent’s fishingboat in Canoe Pass, off Vancouver Islandin British Columbia. He studied carvingwith the renowned Native master carverNorman John, a descendant of the chiefwho welcomed the first white explorersto Vancouver Island. Rice’s carvingshave been exhibited in Toronto, at theMcMichael Canadian Art Collection,the National Arts Centre and theTandanya Aboriginal Art Institute.

18. Neish Do-Dem (Two Marks)Neish Do-Dem or Two Marks, reflectsthe art and legends of the Pacific CoastFirst Peoples adapted to the present inSouthwestern Ontario. Each totem polepresents brightly coloured story images

and designs from the west coast. Ani-mal, human and characteristic shapes areinterwoven into both poles making themunique. The ovoid, a flattened ovalshape, is intermingled and repeated inmany figures. It is one of the mostdistinctive shapes in the Pacific CoastFirst People’s art.

...a museum without walls

Anne HarrisAnne Harris was born in Woodstock,Ontario in 1928. She studied at CentralTechnical School and the Ontario Coll-ege of Art. Her work has been featuredin nearly 40 exhibitions across NorthAmerica and is included in over 100private and public collections. Theseinclude the Albright Knox Gallery, theCanadiana National Capital Collection,Outdoor Sculpture at Rideau Hall (theofficial residence of the GovernorGeneral of Canada), and the Chong-quing Fine Art Museum in China.Anne Harris has won Ontario Society ofArtists awards on two occasions andexhibited her work throughout Canada,the United States and Europe.

15. TohawahIn a very literal way, Anne Harris’ssculpture represents a “fusion” ofuntamed strength and precise elegance.Splitting her time between the studioand the metal foundry, Harris compli-ments the skill of her sculptor’s visionwith industrial tools such as blowtorches,forklifts, electric buffers and sandblasters. Out of these fiery forces, shecreates works of delicatebalance and grace.

Tohawah is namedwith a Native languageword for swans and againdisplays this trademarkduality. The polishedmetallic surfaces and themagnificent height ofthis sculpture suggestthat we are looking at amarvel of modernengineering, while theNative title and the pureelemental shape of theintertwining lines speakof a return to the naturalsubject and shape. In this representation,current trends arereversed. Nature isserved by technology, allowing the sculptor to release anessentialized idea into a form of massivesize and scope.

Derrick StephenHudsonDerrick Hudson was born in the UnitedKingdom and moved to Canada as achild. He earned a Bachelor of HistoryDegree before completing studies at theOntario College of Art and Design. Hisartwork focuses on wildlife, because hefinds the animal form dynamic, diver-sified and, tragically, disappearing. “I hope to make people aware and con-cerned about animals in the wild and toassist in channeling this concern intogreater animal protection efforts.”

16. Tembo Tembo, a family of elephants, has beenchristened with the Swahili name forAfrican elephants. The three elephantsreflect the strength and loyalty of amother for her children. The massivemother elephant stands solidly, guardingher youngsters, providing protection andcare. Weighing almost as much as 80people or 6 automobiles, this enormousmother elephant is one of the largestbronze elephants in the world. Thetriangular shaped ears help to distinguishthe sculpture as an African elephant.

The ears of an elephant are like finger-prints – they are different on eachelephant and are used by scientists foridentification.

The Odette Sculpture Park

Anne HarrisTohawahsteel, polyethylene metallic finishtwo pieces, 38’ high, 10’ base

Morton KatzChicken and Egg

Chicken: steel industrial chain, painted 18’ x 1-1/2’ x 12’Egg: white marble

3’6” long, 1’6” diameter

Derrick Stephen HudsonTembo bronze

mother elephant 9’1” high two babies 2’3” high

Wilmer Nadjiwon and Harold RiceNeish Do-Dem

(Two Marks)Ontario white pine

two pieces, 50’ high

William McElcheranWilliam McElcheran was born in 1927in Hamilton, Ontario. In 1947 hegraduated from the Ontario College ofArt in Toronto and was awarded theLieutenant-Governor’s Medal. As thechief designer for Bruce Brown andBrisely Architects, he planned anddesigned 23 churches and universitybuildings. In 1973 he formed DeadulsDesigns, a company dedicated to theintegration of decorative sculpturewithin architectural planning. Hisfamous business men with pork pie hatsare found in corporate collections allover the world and reflect his philosophyof “New Humanism” in both style andutility. He has produced publiccommissions in Canada, the USA,Germany, Italy, and Japan. WilliamMcElcheran died in 1999.

21. Business Man on a HorseIn Business Man on a Horse, WilliamMcElcheran presents us with the nowfamous figure of his befuddledbusinessman awkwardly seated on his“trusted steed.” The work seems tobring the viewer into a kind of sharedcompassionate joke. McElcheran’s self-

important businessman seems out ofplace in this pose. Is he thecontemporary descendant of thetriumphant returning generals or warleaders of the past, who would be thetraditional subject of horse and ridersculpture? Has his briefcase become theweapon of our contemporary heroes?Where does he fit? As many critics havenoted however, McElcheran’s subjects arenot just the focus of his jokes, they arealso under his protection: “We get asharp sense that each of these figures iscared for by the sculptor, wrapped in anunseen cocoon and that we, as viewers,are being asked to care for them too.”

22. The ColumnsThe four entrance columns that stand atthe eastern section of the OdetteSculpture Park serve an importantdouble duty. Though they work on onelevel as an elegant but understatedmarker to welcome viewers, the columnsalso provide the garden with a stronghistorical anchor. They recall the firstroots of what might be considered apublic art movement and connectWindsor’s “museum without walls” to anancient classical heritage of western artand culture.

The columns are recognizablypatterned on the Ionic order of Greekarchitecture. The rolled volutes of thecapital at the top of each column andthe rounded base on which each pillarrests are the clearest identifying features.This style was prevalent during the highclassical period of Ancient Greece in thefifth century BC and was featuredprominently in the design of majorreligious and secular buildings.Intermingled with the more severe Doricstyle of column, these structures can stillbe seen in the famous buildings of theAcropolis in Athens.

The fifth century BC is traditionallyknown as the “golden age” of Greece.During this time, under the leadershipof Pericles, the Athenians produced aremarkable civilization that remains theenvy of many modern cultures. As theworld’s first functioning democracy, theAthenians believed that art should be a

public possession and available for allcitizens to appreciate. They stagedmassive civic festivals for the performingarts (drama, music, recitals of epicpoetry) and their architects constructedingenious public gathering places thatwere both beautiful and functional. Thefinest sculptors decorated these sites withthe best of their statuary so that allmembers of the city could share inAthenian cultural achievements. TheColumns of the Odette Sculpture Parkmay look like the simplest structures inthe garden, but they summon up manyof the most important ideals of Westernculture and remind us that a publiccommitment to art is certainly not anew idea and may in fact even be anecessary component of any “golden”society.

Leo MolLeo Mol (Leonid Molodoshanin) wasborn in 1915 in Polonne, Ukraine, avillage full of potters, in an area rich inred clay. Consequently, when Molbegan his art studies in Leningrad, hewas already an experienced clay model-ler. He initially planned to become apainter, but it soon became clear that hisdestined path lay in sculpture.

Mol would go on to study in Berlinand The Hague before moving toWinnipeg in 1948.

...a museum without walls

Ted BielerTed Bieler, sculptor and Professor of FineArt at York University, is the creator ofmany privately owned and public sculp-tures. Among them are Triad on FrontStreet in Toronto, Canyons at theToronto Transit Commission’s WilsonStation, Tetra in Portsmouth Harbour,Kingston and Wave Breaking at theCanadian Embassy in Tokyo, Japan.Born in Kingston, Bieler studied art atCranbrook Academy of Art, and hasbeen teaching, exhibiting and makingpublic sculpture since graduating. Hisinterest in metal casting processes has ledhim to experiment with new technol-ogies in his own sculpture and to workwith Mr. L.L. Odette in establishing afoundry in the Odette Centre forSculpture at York University.

19. Tower SongShapes that embody the gesture of a linedrawn freehand in space oscillate be-tween the walls of a spiraling cruciformobelisk. Interest in the interplay offormal and random elements in nature isreflected in this sculpture. The spiral of

life, found in plant, mineral and animallife, twists its way up Tower Song,suggesting potentially infinite progres-sions of form ascending upward, descen-ding into the ground below or branchingout from it.

The sculptor’s fascination with ancientmonuments, those of the Maya and theIncas in particular, highlights the art ofmarking a place by delineating a point ofview, a view that here embraces the freeflow of a river at the crossing betweentwo metropolises.

Ian LazarusBorn in Toronto, Ontario in 1951, IanLazarus started his sculpture career in1972 as a stone carver. His work hasbeen displayed in the National Galleryof Malaysia, Kuala Lumpur; the ArtGallery of Hamilton; the University ofMoncton Gallery, New Brunswick;Butler House Gallery, Kilkenny, Ireland;and the Japan International Contem-porary Art Fair in Yokohama. His workis prized by private and public collectorsincluding the National Gallery ofMalaysia, the Town of Freshford inKilkenny County, Ireland and theUniversity of Windsor.

20. Audio CorridorThe intent of this work is to create adynamic interaction between thesculpture, its setting or site, and theviewer who engages it. The sculpturedeals with a lyrical phrasing of space,inviting the viewer to move through it asone would move through music if itcould be made visible. The sculptorattempts to restructure the existing

landscape to take advantage of itsinherent beauty while drawing on hissculptural languages and forms toaugment the dialogue.

24. ConsophiaThe sculpture symbolically reflectscommunication across borders – stand-ing as it does on the international borderbetween the United States and Canada.Consophia refers to wisdom amongfriends – linking this sculpture with thegeometric syllabics of the NativeOjibway script, the sculptor presents aform which represents sharing amongfriends. The English translation of the

Ojibway is sharing knowledge andinspired interaction. This translationfurther expands this sculpture metaphorof communication across culture,location and time.

The Odette Sculpture Park

The Columnspoured concrete

four pieces30’ high

Ted BielerTower Song

cast aluminum25’ high

Ian LazarusAudio Corridor

stainless steeltwo pieces, 20’6” in length

William McElcheranBusiness Man

on a Horsebronze9’ high

Ian LazarusConsophia

painted steel, stainless steel chain18’ high

His first sculptingcommission was aportrait of thecomposer Borodinin Leningrad. Sincethen Mol hasexecuted comm-issioned worksacross the globe.Among them areportrait sculpturesof John Diefen-baker, Dwight D.Eisenhower, andTaras Shevchenko.In addition to hissculptures offamous worldfigures, Mol hassculpted wildlife, religious subjects andthe human form. He has also created anumber of stained-glass windows forcommissions in Manitoba, BritishColumbia and Ontario.

Mol is a member of the RoyalCanadian Academy, and in 1989 he wasappointed an officer of the Order ofCanada. The world-renowned Leo MolSculpture Garden, which opened in1992, displays over 300 of Mol’s worksin Winnipeg’s Assiniboine Park. In2002 Mol was honoured by having hissculpture Lumberjacks featured on aCanadian postage stamp.

25. AnneLeo Mol has devoted a great deal of hiscreative energy to life-sized figures ofyoung women. His vast work in thisgenre has been compared to that ofItalian artist Giacomo Manzu, and itoften recalls the blithe, stylized figures ofFrench Impressionist Pierre-AugusteRenoir. However, Mol’s sculptures ofyoung women are unmistakably his own.

Observe the prominent contours ofAnne’s hair, flowing gently and commun-icating with the soft curves of her armsand body, a hallmark of Mol’s work inthis genre. As is common among Mol’ssculptures of women, Anne is com-fortable and carefree in her surroun-dings. The attitude of the sitter and theartist’s interpretation are combined to

completely eliminate harshness andtension from the scene.

Ben SmitBen Smit was educated at the OntarioCollege of Art (OCA) and earned hishonours diploma in 1982. During thistime he also participated in OCA’s OffCampus Studio Program in New YorkCity. His work has recently beendisplayed in several solo exhibitionsacross Canada. His one-man shows havebeen hosted by the Mercer Union andthe Cold City Gallery in Toronto; PlugIn Inc. of Winnipeg, Manitoba; AKA ofSaskatoon, Saskatchewan; Artspace inPeterborough, Ontario; and the GalerieSans Nom in Moncton, New Brunswick.For more than a decade his sculpture hasbeen prominently featured in majorgroup exhibitions throughout theToronto area. Ben Smit currently livesand works in Toronto.

23. CraftThe recent landing of Ben Smit’s Craftmarks a significant kind of departure forthe Odette Sculpture Park. In nouncertain terms, Smit’s spaceship blaststhe Park into its first close encounterwith popular culture.

Though it may seem to have a futur-istic focus, the piece is perhaps moreinterested in recalling the past. Itremembers a simpler period of NorthAmerican history, a more innocent,probably more naïve time, when a flyingsaucer could activate feelings of curiosity,terror, humour and wonder, all at thesame time. Craft is equal parts comedyand compassion, a perfect contemporarycliché. It is certainly silly — the cockpitlooks like it might be made out of anupside down stainless steel mixing bowl— but the work also asks some seriousquestions.

What is lost when our fantasies areproven false? Where do we turn when“Unidentified” Flying Objects aresighted everyday, so recognizable thatthey’re almost boring? As technologymarches on, “clarifying” the world forus, what happens to our small mysteries,the grainy Sasquatch photographs andthe barely decipherable radio echoes thatmake that world an interesting, kind ofcrazy place to live?

Craft hovers over these issues, but ifyou’re optimistic you can read thesculpture as an imaginative take off, acall to remember the possibilities con-tained in our own creativity. Craft maybe interested in other worlds but it is nota conspiracy theory ridden episode ofthe X- Files. For this sculpture the truthis “in here” long before it is “out there.”

The Odette Sculpture Park

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