Selected Sculptures
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Medusa on the Marsh
Glazed Ceramic/Painted Cedar | Stan Sperlak 2016
Alternately called the “Revenge on Dale Chihuly” as the twisting orange branches recall his glassworks. (PS he worked in Millville with several of the artists whose glass I have here). This is one of my favorite works here. The placement, the drama, the contrasts!
When I told my crew what I had planned for this 250 LB 6’ urn, they showed they loved me, but also cursed me under their breath! We had to build a base or it would sink. We had to gather many long and interesting dead branches from our Red Cedars. We had to paint them by hand. Sperlak Orange! Then we had to stand it up and arrange the branches. It took three days in total. A few years ago, it fell over in a storm. But not in the direction we thought the wind would have. It was not the wind. The large maple behind it fell in the storm and caused a jelly like trampoline effect that tossed the urn forward! We built a stronger base and filled it with bricks. We think more stable. Enjoy.
The Trioliths
Bluestone Plinth/Iron Wheels | Stan & Michael Sperlak 2021
I have always loved monumental sculptures, and even the stands, or the “plinths” that they are set on, can be just as monumental. We went on a material scavenging hunt to the quarry area above New Hope, PA and were able to find some very interesting pieces.
This was going to be one of our first, heavy and serious installations, needing to be level and secure. We worked like ancient craftsmen using string lines, plumb bobs and board levels to get them all in line (by hand). They weigh 1200 lbs each. They are set in the ground 18” on a 2×2 foot concrete punch pad, with 6” of crushed stone beneath. Frost will not move these. Over the seasons, other items have graced the plinths. Photo shoots, kids, pumpkins, violinists, just ask if you want to pose on them. (Violinist pic by Suzanne Kulperger, others by Stan)
Cloud Stilts
Painted Bamboo | Stan Sperlak and Team
Once we became officially known as a sculpture garden, I knew there had to be something bold, big, and able to be seen from the highway. After much thought and alternative designs, I settled on a mass of vertical shafts of color, rising out of the edge of the marsh.
But as with all installations here at the farm, forethought must go into what will withstand the constant salt tides and ferocious winds? Even the Sun, rain, bugs, and wildlife! Knowing that bamboo floats, and is light, we rigged an idea where them culms would sit inside of 4”PVC tubes that are 2’ into the mud. We drilled holes in the sides so they would not hold much water. The bamboo itself was painted with 3 coats of white primer, then 4 coats of Sperlak Orange, which is a color patterned after the Tori Gates in Kyoto, Japan and repeats on many items here. It is a grand color contrast for the grounds. The pieces are all about 24’. Materials donated by Bamboo Jerry (Pictured at left)
The Harrowing Ball
Iron Cultivator Discs | Stan Sperlak/Andrew Castor 2021
A fine example of how spheres can enhance a scene and be made of just about anything. I noticed a pallet of old harrowing discs at Bohm’s farm nearby, and asked If I might have them. David Bohm had to tease me about us artists always doing something weird! They sat in a pile here and gestated for a year while I thought of a plan. Then I had one! A sphere could be made because of the slightly curving shapes. Now to find a welder. Enter master welder Andrew Castor.
After a few minutes, yes minutes, of planning at Thomas Barry’s garage, Andrew and I were able to easily build the discs into that shape. A 36” circle was drawn on the floor in chalk, the first two pieces held up by a temporarily welded kickstand, and Andrew was off. I held the pieces while sparks flew. We had just enough to get where it stands now. We lifted it by chain onto my truck and then I set it here with my tractor and added the lights inside.
The Three Legged Women/Secret Garden
Fiberglass | Catherine Courter 1990
This area was established weeks prior to the Pandemic. My assistant, Matthew Reichard, a Kansas lad in between jobs, had been tasked to dig 60 small Junipers out from the marsh edge to develop an evergreen hedge with secret entrances, so that we might feature something really cool in here someday. A second purpose was to have the hedge be a background for the marvelous Beach Plum (Prunus maritima) that lives outside the hedge here and shows its form off in winter.
Instead of making this a Zen Garden which was my first idea, replete with raked stones and boulders…We wnt into a more fantasy tact. We were given these unusual works of noted artist Catherine Courter. They are all copies of her right leg, cast in fiberglass. I installed the mirror spheres. We call this the Three Legged Women’s Inter-galactical Steel Ball Shuffle Chase Championship Match caught in a standstill as they anticipate the third overtime period. The Garden is in a chevron shape, like the Star Trek insignia. Sculpture Gift of Judi Courter, Red Cedar Bench by Cory Brant
Light in the Universe
Molten Glass/Copper Wire 4’x 6′
Hanks Adams 2008
This work is on loan from our neighbor and friend, Master Glass Artist Don Friel. His fellow artist at Wheaton Glass, Hank Adams, worked in Millville for several years He developed this form of art of spreading the copper wires in arrangements on a concrete floor and then making sand “volcanoes” where molten glass of varying colors could be poured. Once the glass hardened, and the sand swept away, the work became tied together and is able to be hung. Watching the Sun set through these is upside down amazing.
The Turret Gate
Wood/Iron 8’x 8′
David Beckwith 1992
This imposing work is made from reclaimed circa 1840 oak timbers, along with rolled and hammered steel. This work was originally created by the artist for an installation show in upstate New York. It was spotted disassembled under a pile of corrugated roofing at an organic farm that my Joseph worked at in Charlotte, Vermont. We inquired and found out Beckwith was willing to sell it. We purchased it unassembled for the parts but intrigue and mathematics led us to attempt the rebuild it, in its original design. It was not easy as we never could get the original drawing. It weighs nearly a ton. It now guards the Rum Runner Trail. It’s shape and ominousness reminded me of the Medieval gates called portcullis. We recently added “Clarence, The Black Knight” who clearly guards the entry to the Rum Runner Trail. A route taken in the 1920’s by bootleggers moving alcohol from small boats on the Crow Creek, through back woods roads to circumvent the authorities on the highway.
The Pineapple Teacher or Kumu Hala Kahiki
Corten Steel
Frank Orminski 1992
This 9’ tall work comes as a gift from Gail Wilsey of Cape May. It was made in New York, NY by Frank Orminski, a talented ironsmith and commercial welder, and was purchased by Gail. It represents a Pacific Islander male in traditional garb of Cordyline leaves on the ankles and wrists. Here there are shapes transcended to be pineapples on each appendage. Some see claws, others see lobsters, but we hold that it is representational of pineapples. “Kumu” means teacher, and “Hala” is a native fruit in Hawaii that has a similar appearance to pineapple, and “Kahiki” means foreign, as the pineapple comes from South America.
I lived in Hawaii as a youth and marveled at the Hula dancers. The chants, the beats, the percussion and torso and hand movements. I would love to see this work be animated! Corten steel or A-606 was developed by US Steel in the 1980’s as a cladding or external steel that builds a rust on its surface that does not penetrate. It continues to evolve as the weather changes, but generally does not eat into the base metal. The Garden State Parkway used this in the 80’s on guardrails and light posts, and now you see it on the large signs. I think it nicer than galvanized. PS the base is a 36” saw blade with 36” bolts piercing the ground to keep it in place. Aloha!
Fish Boy
Terra Cotta on Bluestone Slab | Sally McInerney 2000
This is a fine example of Sally’s skill and humor. Her yard in Corbin City, NJ is full of these style works. In years past, she would take a two week residence at a chimney flue factory in Ohio, working and combining the wet clay of newly extruded flues into figurative pieces. The foundry would fire them, and she would haul them home. The original title was Fishman, I always teased Sally that this work clearly should be called Fishboy. The terra cotta base is a chimney flue.
Naked Calvert
Cast Concrete/Ceramic/Brick 2016
This male torso sculpture assembly began his journey to the farm at my old nursery. His companion, modeled a bit like the Venus de Milo sold quickly. But Calvert stayed overlooked for years. If no one wanted to bring him into their garden, then a place in the forest at the farm was in order. As with all of the works here, the location was selected very carefully over the course of a few seasons to bring out the best in contrasts, light and surprise.
Calvert is on a pedestal made from Tufa stone twisted in its stacking, then a handful of antique bricks, some with the indented “frog” stamped Calvert. These rare bricks were made in the early 20th century at the Victor Culshaw & Sons plant in Willamsport, Maryland.
In 2017 I added the ceramic scull, which houses wrens each year, finally a belt of orange wire was wrapped around his hips for modesty. Calvert is proud, and he is a fan favorite for the traditional tap on backside photos with guests. In 2019 Calvert got a lady friend, who turns the scene into a fantasy Biblical folly. I hope you enjoy both when you come.
The Narcissus Bridge 36′ x 8′
Wood/Steel/Paint | Stan Sperlak & Team 2020
In 1998 when I started to travel about the 37 acres of the farm and woods, there was an area that was always too wet to cross, and was calling for a little bridge. It started out with a few pallets, then a reclaimed mini garden bridge that barely made it across the middle of the mud. The next iteration of the bridge was a typical plank boardwalk whose nails rusted leaving the crossing treacherous at best. Hence, it’s original name: The Bridge of Death.
This location was too important for these failures. The crossing led to the ½ mile trail that went deep through the woods all the way to the Grand Marsh View. I had to do something better. In the fall of 2019 we started to remove the dangerous overhanging dead trees and cut back the native overgrown shrubs. Each time we cleaned up the area, ideas raced through my head. A Full Moon Bridge like in Japan! A rope bridge like over a canyon, a see-saw bridge that rolled over as you crossed….. in the end, all too much engineering and risk for the traveler.
I settled on a bridge that would be a False Cantilever/False Suspension arrangement. Days of mock ups and changes. The bridge would have elements of the ones I saw in Nikko, Japan. Orange, elegant and strong. The suspension pieces suspend nothing. The cantilever is magic. At the space in the center, you must look down and see if you see your reflection, and decide if you are that beautiful! Many visitors have remarked on the visual sensation that happens as the hoops go up and down in your peripheral vision as you cross.
Through the Tree
Cedar branches/magic | 2015
While there are many things I could say about this “Sculpture” it really must be experienced. A square space, surrounded by found branches from the edge of the marsh, gives a view through this giant Sweetgum tree. There is a Spirit that lives in the tree and shows itself as you peer through it. But you can only see that from just the right spot in the forest, for spirits are tricky………
Above
Wood/anti gravitational paint | 2020
My goal was simple at first. Do something with the last remaining 24’x3”x8” clear white pine dock boards that were gifted to me by a local contractor. He didn’t want to waste these amazing (although creosoted) pieces of lumber. Free from knots, they were very interesting and could bend nicely. I though of so many ways to use it. Vertically, suspended from a tree, set like a balancing beam or ramp….eventually I decided on a surprise sculpture in a low area where the beam looked as if it were floating out of the ground in an abstract angled way. We used 3 coats of primer and 5 coats of Gloss “Inferno” orange paint to create a lacquer like finish. It took 3 men to move it to the site through the marsh trail. It took three other men to hold it in place while I directed what it needed to look like. (they still don’t like me for that) Once I was happy with the angles, they let go and it magically appears to float “Above” the marsh.
Thrust
Iron/Stone/Shot Put/Tinfoil | 2019
Not being able to part with so many odd things from my time as a landscape contractor, I had these two cast iron fork-lift blades leaning against a wall for years. These two I pondered ideas for and most seemed dangerous because of the weight. I toyed with them holding a 16lb shotput, but it still needed something stronger and bigger to hold in place. My friend from the local feedstore offered me these three huge sandstone rocks to use at my pleasure on the farm. That was it. They would hold the L shaped fork tines in place as they then gripped the ball and they look liked they are thrusting through the rocks.
It doesn’t stop there, everything on the farm has second meanings or uses, and this device is also a sundial facing East/West. On the Summer Solstice, June 21 at noon there is barely a shadow cast. On the Winter Solstice December 21, the shadow at noon is 6’ long facing due North.
The tin foil wrap, hides the weight of the ball, and visitors fool with it but it seems stuck. The tin foil also acts as a reflective element and picks up the “light values” of any given day. There are many other mirrored orbs nearby and the illusion are amplified by the mid-summer seed heads of the Tragapogon flowers you see in the photo here. Cory Brant and I set this one up just prior to the big event last December.