I was fortunate to receive an invitation to the Reception for the Second Annual Sculpture Exhibition at the Bridgeville Public Library. The exhibition is a cultural project of Bridgeville Public Art, with the Library serving as location sponsor for an impressive collection of works by members of the Pittsburgh Society of Sculptors. My daughter Elizabeth was planning to take me to a Pittsburgh Symphony concert that evening; it was convenient for us to revise our schedule to include a stop at the Library to gorge on hors d’oeuvres and wine and rub elbows with Bridgeville’s Cultural Elite, while inspecting some very interesting pieces of art.
Our knowledge of the Pittsburgh art scene is growing rapidly; we remembered many of the artists exhibiting this year, from last year. The moment we saw “Grazing Mare and Foal”, a remarkable wire-art depiction of two horses constructed from a single continuous strand of wire, we knew it was the work of Dino Deluliis. He also displayed “Tribute to Sandpaper”, a large wooden abstract that is a tribute to his versatility.
Dan Droz’s work was also evident. “Checkered Table”, mounted on the wall above the fireplace, is a masterpiece of perspective. “Triumph” is a table-top version of his familiar series of works with folded plates. Equally interesting is “Figuring It Out”, a continuous flexible mesh tube intertwined into a modern-day Gordian knot.
And, of course, who wouldn’t recognize the work of Ronald Nigro? His genre is “technology hardware salvage”, using wood, metal, and found objects to assemble sculptures that are surprisingly attractive. He displayed three works – “The Breeze”, “Celia”, and “Caramine #1”; the latter is wall-mounted. Once again I am not competent to categorize this genre, representational objects in an abstract assembly (?).
Amy Short’s “Hamlet”, a whimsical young man holding a small octopus in his hands is an appropriate companion piece to last year’s entry, “The Weight of the Ocean”, a boy holding a small whale in his arms. Similarly, Sara Simmons’ “Embody” is another excellent example of her genre, mixed media using text-based found objects. It consists of five panels hinged together, each capped with a silhouette head covered with relevant text.
Gadi Leshem is a repeater – last year’s “aljamal style”, a ceramic camel wearing a turtle neck sweater was one of our favorites. This year he entered a very realistic bust entitled “Jamie Fraser/Outlander”, depicting the hero of the “Outlander” novels and television series.
I believe Mary Mason was new to us; her “Lantern Fly or Fish for Lunch” is a perfect example of her whimsical approach to the use of mixed media and found items. It consists of a spotted lantern fly on a fish hook, about to be swallowed by a small fish. Coincidentally, I recently read an article about a fisherman catching a mess of bluegills. Ms. Mason is a welcome addition to our group of local favorites.
I think Eric Dye is another newcomer to me. I really liked “Tooth Fairy”, a carving of a young woman holding a large tooth in her left hand. “Shulamite Bride” is another impressive carving, loaded with symbolism. The same is true of Alison Leer. Her “see Me, receive Me, recognize Me” is a bust of a female head, covered by a mosaic of glass and ceramics.
Based on the two pieces he showed this year, we hope to see more of “Fritz” Hartman. “Reachin’” and “Cauldron of Light” were both highly polished, epoxy-coated heartwood remnants of tree stumps. The sculptors who attended the reception had a chance to discuss their work. Mr. Hartman explained how he would start with a rescued piece and then carve the heartwood into the configuration that exposed its soul.
Duncan MacDiarmand specializes in terra cotta busts – “Portrait of John Riegert” is a fine example of his talent. The subject is a well-known local artist with mental health problems who died in 2019 and was mourned by the Pittsburgh art community. MacDiarmand’s “Lots for Sale” is dramatically different – a multi-media (wood and rebar) nearly surrealistic, but intriguing piece. Another interesting wood piece is “Stairway to Heaven” by David Greene.
Last, but far from least, are three pieces by Guy Bellaver, half of the two-person team driving Public Art Bridgeville. “The Kids” is a marvelous trio of life size bronze busts of the Bellavers’ three children, more evidence of Guy’s ability to master representational art. His mastery of the abstract was also demonstrated by “Quarks II” and “Second Day of Spring”.
It was interesting to hear the artists speak about their work and the things that inspire them to go off in different directions. This exhibition is a perfect example of how unique each of these artists is, while at the same time demonstrating how much they all have in common. Each of them is trying to experiment, in different ways, with transforming the ordinary into the special, the mundane into the memorable. They are trying to convince the rest of us that there is more to life than survival – more than earning a living, rearing a family, and rooting for the Steelers. And frequently, they succeed.
We non-artistic types marvel at Dino Deluliis’ talent in converting a spool of wire into a very recognizable horse and at Duncan MacDiarmand’s ability to create “John Riegert” from a pile of clay. If we are fortunate, we gain the insight to appreciate the spark of artistic genius that creates sculptures like “Checkered Table” and “Quarks”, separating them from the ordinary. It’s true, of course, in other arts – Bach used the same musical notes as Irving Berlin; Steinbeck the same collection of words as John Grisham.
The Judges’ Awards went to Dan Droz, Dino Deluliis, Fritz Hartman, and Amy Short. We presume Guy Bellaver was recused from consideration because of his role in producing the exhibition. It was a happy day for Bridgeville when the Bellavers decided to come back home.