Gilbert Boro was born in New York, New York in 1939. He first received his Bachelors in Fine Arts from Duke University before going on to pursue a career in Architecture with advanced degrees from Columbia University. After a successful career as an architect and sculptor in Boston, Massachusetts, Boro now lives and works in Old Lyme, Connecticut.
Boro’s vast body of work has been shown on a local and international level. While working as an Architect, Boro continued to nurture his creative energy by maintaining his passion for sculpting. Boro’s long career provides a wide range of works, with varied aesthetics and materials including stone, wood, metal and fiberglass.
Boro is dedicated to the local arts community and runs Studio 80+ Sculpture Grounds, a collaborative work studio and sculpture garden open to the public. Boro fabricates his sculptures in the studio and displays many large-scale pieces on the grounds. With several thousands of visitors each year, the 4.5-acre sculpture grounds boast over 90 works by Boro and many contributing artists from around the globe.
Bo Gehring's background includes computer animation, 3D audio, and sculpture. For several years he has transformed tiny clips of music by Thelonious Monk and others into complex 3D sculptures in polished stainless steel, machined foam, and other materials. The largest of these to date is the 160' Monk Wall commissioned by the Katonah Museum of Art. About a year ago, Gehring began creating abstract video animations and now has adapted those techniques to make live portraits set to music by "flying" a video camera with a computer-controlled milling machine.
David Smalley has had over 50 solo, two-person, and invitational exhibitions of sculpture in the US, Britain, and Japan in his 40 year career. His work is primarily in metal, and many of the works are kinetic (mobiles). His works are in private and public collections in New York, Connecticut and elsewhere. He recently installed his largest commission to date: a suspended kinetic sculpture for Northwestern Connecticut Community College, commissioned by the State of Connecticut. Smalley's works are impeccably crafted and engineered. He pioneered the use of computer technology as a tool for creating sculpture, and founded the Center for Arts and Technology at Connecticut College, from which he retired in 2002.
Richard Warrington is an internationally known, diverse, and impressionistic sculptor who creates two and three-dimensional hollow form and silhouette sculptures using powder coated aluminum, stainless steel, corten steel and bronze.
"My work centers around people and what it means to be human. Our experiences make us who we are, and my work seeks to portray in sculpture those experiences. My work is also an expression of faith in that I believe men and women are made up of a spirit and flesh. If I can reveal the power the spirit in all of us through the physical nature of clay I would feel I have been successful."
Conrad Levenson has been an assemblage artist for over forty-five years. Applying his passion for reclamation and recycling to the creation of sculpture, he takes scrap materials and old objects and transforms them into works of art. In the process, he strives to identify and capture their embedded energy, spirit and character, giving each one new form and meaning in a voice that is uniquely his own.
His studio is located in the Hudson Valley Town of Stanford, New York. It is a rural community that provides both inspiration and access to artifacts and decaying materials, weathered and rusted, ripe for transformation. The property includes a workshop and a two-acre garden, where he has created spaces and settings for the display of his sculptures. His works connect the built environment and natural landscape and provide both visual and cultural bridges between the past and the present.
He is a member of the International Sculpture Center, the Sculptors Guild, Westport Arts Center, Arts Mid-Hudson, Barrett Art Center and the Red Hook Community Arts Network. His works are in private collections across the country and regularly exhibited throughout the region with the Sculptors Guild, at their Gallery and on Governors Island; the Sculpture Expos in Red Hook, New York; Studio 80 + Sculpture Grounds, in Old Lyme, Connecticut; the Red Devon in Bangall, New York; the Ice House on the Hudson in Poughkeepsie, New York; and the McDaris Gallery in Hudson, New York.
"There seem to be two distinct sides to my work. One being more geometric and the other more expressive. The geometric is contemplative, tight, polished and somewhat relaxing while the expressive, by contrast, is more dramatic, loose, roughly textured with a lot more tension. The geometric is inspired by objects such as spheres, rings, and chain links while the expressive is inspired more by desert cracks, rusty eroded metal and meteorites. My geometric work often expresses social themes that are more personal."
Nick Santoro is best known for 25 years of carving stone sculptures and teaching students how to use hand tools to shape marble and limestone.
Alvin Sher - "I have created sculptures using imaginary architectural elements for twenty-five years. The sculptures have dealt with mythic and scientific issues, using architectural forms as a vehicle. The subjects of the works range from temples and labyrinths to observatories and sun dials; they are all metaphors for human curiosity and searching - human beings have always chosen special places to celebrate and explore the unknown. The sculptures bridge time and ideas with ancient and new materials and forms. The works are executed using materials and techniques such as stone cutting and traditional bronze and iron casting as well as modern technologies like inert gas welding of aluminum and stainless steel, vaporization casting, plasma metal cutting and computer imaging. Artists have always used modern tools and techniques, going back to the introduction of perspective for a more scientific understanding of anatomy and visual phenomena; the computer is another tool in this process. Computer simulations help develop forms and explore functional astronomical and environmental situations. I have been using the computer as an electronic sketch bookto visualize ideas and view them from a multiplicity of angles. I rarely go from a sketch (traditional or computer) directly to a finished work, so the images produced feed into the process in the way that the handling of various materials help shape the idea. The decisions of size and scale as well as all of the visual adjustments for aesthetic reasons are always determined in the making of my sculpture.
The capacity of the computer to measure and organize information has also been used to make paper pattern templates for cutting out metal parts for a sculpture. It is a valuable tool for making measurements for sculptures that have astronomical functions such as seasonal clocks and sun dials.
The image of the hand is both my signature and a universal symbol with meanings through time ranging from greeting to our extension in space. My sculptures are influenced by both modern and ancient works."
Please click on a gallery to view sculpture by contributing artists
Gabriel Warren - "My sculpture has been informed by big ice for decades. In 1999 I became the first sculptor from any country to be sent (in my case by the NSF) to Antarctica. I was sent again in 2006, becoming one of only eight to be a ʻrepeat offendersʼ.
In 2001 I resided for five weeks on Canadaʼs largest icebreaker in the Autumn, as the sea froze over in the Lancaster Sound / Parry Channel area of the Northwest Passage. In 2014 I resided as a team member of a science party on the Greenland Ice Capʼs “Lake District”, researching climate change.
I try to position my art at an intersection of art and science. It is my aspiration that my experiences in both polar regions afford me some authority about matters both visual and intellectual. If I include a visual pattern, or refer metaphorically to a glaciological phenomenon, it is because I have actually seen it, or been told personally by an expert. Of course I take liberties to make what I do Art, but it is always erected on a solid foundation in the natural world.
The diptych currently at Studio 80 + Sculpture Grounds is a member of my series “Piesterion”, which loosely refers to cores drilled out of ice sheets, caps, and glaciers."