Glen Foerd’s 2022-2023 Visual Artist in Residence created three outdoor sculptures centered around..

Hawkish and Doveish was created using styrofoam remnants with a texture that remarkably resembles feathers. She chose to sculpt the dove and hawk as birds that are iconic symbols of peace and aggression. Peoples covered the sculptures in poured silicone rubber in colors derived from the logos of the highest-grossing oil companies in the world. Silicone itself is a synthetic polymer derived from oil, making the sculptures’ materiality integral to their meaning. Through the significance of the colors and the symbolism of the birds themselves, Peoples challenges us to confront the ways that oil and gas conglomerates dictate the financial market and influence policies related to environmental conservation.

The Theatricality of Nature refers to a style of theater drapery known as an Austrian curtain, or a waterfall curtain. The curtain acts as a veil of protection for things happening behind the scenes, and an opening in which to frame our attention. A resin-covered image of a tree stump acts as a prop on the grass “stage”, presenting as nature morte, an art historical term for a still life painting of dead flowers. Serendipitously, a nearby tree fell within the scene, playfully becoming a foil for its imitator.

A temporary interactive element was added to include a catapult with rotten fruit. Peoples expands on why she added this element “Throwing rotten tomatoes is associated with the Shakespearean Globe Theatre in Elizabethan London. Historically speaking, throwing a rotten tomato/fruit at a performer/stage is a symbol of the audience’s disgust for a performance. It occurred to me that there’s a strong disconnect between the performative love we all have for nature and the way we actually fail to demonstrate that love. Since this work considers mimicry and simulation in its reference to the “natural world” it seemed only fitting to provide the public with faux rotten fruit to throw at the sculpture in a fun and funny outward display of disapproval.”

America's Landscape, Incorporating Thomas Doughty's, Morning among the Hills explores the effects of consumerism in contrast to the ideal depicted in early American landscape paintings. The artist draws from a historic painting in the collection of the Pennsylvania Academy of the Fine Arts (PAFA) to illustrate this point.

Installed in front of the monumental landscape painting reproduction, Sarah Peoples brings symbols from landscape paintings to life. The rainbow caricature created boldly colored 5-gallon buckets and other containers spill out of the landscape while metaphorically supporting it. A kaleidoscope of red butterflies created from repurposed plastic bottles presents an interesting contrast between manmade material and natural imagery. Nearby, a blue boat appears to battle stormy seas. Waves made from blue tarp threaten to overtake the vessel, adding an element of drama to an otherwise peaceful scene.

Photos by Jamie Alvarez