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2025 < All Sculptures 2025 Downtown Haliburton Sculpture Exhibition $2400.00 Geese Please Kim Collins Geese Please Mixed recycled contents: fabric sculpture-ripstop nylon/polyester from kitesurfing, windsurfing and camping tents, speciality sailcloth with kevlar, woven tarp, aluminum rigging rod, polyurethane foam, cotton, felt, and wood From the discarded remnants of high-performance outdoor textiles—tents, kitesurfing sails, and windsurfing sails—emerges a striking Canadian Goose sculpture. This artwork embodies the spirit of outdoor adventure and wildlife through its recycled composition. The process of repurposing these technical fabrics challenges the traditional linear consumption model, acting as a direct intervention against waste culture and drawing attention to the pervasive problem of microplastic pollution. The initial spark for this project was a single, damaged camping tent, a piece of waste that ignited an investigation into the possibilities of textile up-cycling. Kim Collins Kim is a multidisciplinary artist and graphic designer residing in Niagara. Captivated by our natural world, her colourful 2 and 3 dimensional pieces express joy and humour. Known for her inventive use of recycled contents, Kim paints, collages and stitches together mixed materials to best emphasize the aesthetic qualities.For over a decade, Kim's design career has been in the sports industry, creating bicycle graphics and supporting marketing collateral. Check out the bike department at Canadian Tire to see her latest work.Kim has a B. Des from York University/Sheridan College and a B. Ed (Visual Art) fromNipissing University. She has exhibited her work in Thornbury, Collingwood, Haliburton,Waterloo, St. Catharines, Burlington, Mississauga and Toronto. Artist Contact Information Email : kim.a.collins@gmail.com Website : kimcollinsart.ca Instagram: @4x5design

Thuja occidentalis < Back Eastern White Cedar Ojibwe Name: giizhigaa'aandak Scientific Name: Thuja occidentalis Significance in Ojibwe Cultures: What happens when you use cedar tea to bathe? It purges your lymph vessels and nodes, relieving your skin of this constant slow leech of toxins and garbage that is slowly secreted onto the surface of your skin which is the cause of a ton of problems. How to Identify the Leaves: "Cones from the eastern white cedar are 7 to 12 millimetres long and grow in clumps of 5 or 6 pairs. Small scaly leaves cover the tree’s fan-shaped twigs and are a yellowish-green colour. The bark of the eastern white cedar is thin and shiny when the tree is young, but separates into flat narrow strips as the tree gets older. White-tailed deer eat the twigs of the eastern white cedar during the winter." Sources: Image: https://www.ontario.ca/page/eastern-white-cedar How to Identify Tree: https://www.ontario.ca/page/eastern-white-cedar < Back Next >

A one-of-a-kind bench crafted by Peter Wehrspann. Current Peter Wehrspann Name of Sculpture: Current Materials: Oak and Steel Description: One of a kind bench, a reverse ‘S' curve created from 4” slats of oak with steel legs Installation Date: August, 2005 Number on Map: B Go to Gallery Vision for the Bench: I designed this bench with two major considerations in mind. The sinuous form is for a pleasing shape embodying flow and movement. While the human-manipulated materials that make up the bench contrast with the surrounding natural environment, the bench's repetition of line and sense of movement invokes a congruent relationship with its environment. The concave face of the bench allows for interaction between visitors to the Sculpture Forest. Passers-by taking a rest will be nudged to engage in a quiet chat or conversation. Though, respecting the needs for personal space the bench's undulating form also allows for a convex seating arrangement to provoke focus elsewhere. A low backrest makes it easy to rest one's elbows to sit for long periods to just observe, communicate, or a combination of both. Artist Statement: I take great pride in creating unique objects that successfully fulfill requirements of form and function. This project became more intriguing for two reasons. First the bench is an exterior object that posed challenges in the design and construction and aesthetics. I don't believe it is a casual duty when attempting to gracefully impose human-made objects into nature. Second, the project was one that, unlike other sculpture, involves interaction with people on an ongoing basis. It is my belief that 'good objects' can positively evoke emotion and interaction, personally and interpersonally. Artists before me have inspired these perspectives that now define my work. Natural artist Andy Goldsworthy from England, landscape architect Martha Schwartz from the U.S.A. and Christopher Alexander, author of "A Patterned Language", all promote an awareness of the integral relationship between us, the Earth, and the things we, as humans, make. < Back to Sculptures

Jared Tait All Sculptures Bawaajigan - To Dream Number on Map 43 Artist Jared Tait Material Panels, outdoor mural paint Installation Date August 17, 2024 Learn About the Artist Indigenous artist, Jared Tait, was our artist in residence, August 12th -16th 2024. Community members were invited to participate in this community engagement art experience at the Haliburton School of Art + Design. Over 80 community members participated and learned about the woodland style of painting and Indigenous stories. Under the direction of Jared, community members painted the figures, on to the panels over the course of the week. The central figure, Nanabush, stands high, in amongst the woodland creatures. This collection of figures represents the story of Nanabush and the owl. Nanabush had lost his connection between this world and the spiritual world. The owl saw him in his despair and offered his eyes to Nanabush so that he could find his way again. The yellow represents the colour of the owl's eyes and can be seen on all of the creatures. This story represents the gift the owl gave the to Anishinaabe people, to be able to see the connections. The line work on all of the figures represents connections and the interconnectiveness of everything. The animals in this installation are very common in all of Jared's art. The kingfisher represents his grandmother and her clan. Jared used purple and lavender colours in this painting because his grandmother was always wearing purple. The circle in the centre of the kingfisher represents a wampum shell. In the centre of the loon, the divied circle reperesnts the miigis shell, which people would wear on their necklaces or ceremonial outfits, honouring the connections. There are two halves on this shell which represent the duality of day and night, and the connectiveness of this world and the spiritual world. The bear usually takes up a lot of space on Jared's canvases. It represents healing to Jared. The beaver shaped the land for the people and they relied on the beaver for many things. More Photos Previous Next

​Carolanne MacLean was born in Toronto in 1949. She is a graduate with honours of the Ontario College of Art in Fine Art and has a B.A. from the University of Toronto. Her large encaustic abstract works are a study in light, colour and texture, sometimes involving the figure, often nonrepresentational. Her City Souls paintings capture moments, passing expressions on the faces around us. She pursues the beauty of the figure through a regular sculpture practice. Artist's Statement: I feel I am working with energy, whether painting or sculpting. I am interested in the healing value of colour and the surprising beauty of the accidental mark, and intrigued by the very existence of our response to beauty. E-mail: cmtoronto@pm.me < All Artists Carolanne MacLean ABOUT SCULPTOR Artist Bio Carolanne MacLean was born in Toronto in 1949. She is a graduate with honours of the Ontario College of Art in Fine Art and has a B.A. from the University of Toronto. Her large encaustic abstract works are a study in light, colour and texture, sometimes involving the figure, often nonrepresentational. Her City Souls paintings capture moments, passing expressions on the faces around us. She pursues the beauty of the figure through a regular sculpture practice. Artist's Statement: I feel I am working with energy, whether painting or sculpting. I am interested in the healing value of colour and the surprising beauty of the accidental mark, and intrigued by the very existence of our response to beauty. E-mail: cmtoronto@pm.me Artist Website Installed Sculptures Double Take Previous Sculpture Next Sculpture

Haliburton Highlands Secondary School 2002 Students with support from Mary Anne Barkhouse and Michael Belmore All Sculptures Beaver Number on Map 06 Artist Haliburton Highlands Secondary School 2002 Students with support from Mary Anne Barkhouse and Michael Belmore Material Cement, Aluminum Lamp Post Installation Date August 1, 2002 Learn About the Artist In the winter of 2002, the Haliburton Sculpture Forest contracted with the artists Mary Anne Barkhouse and Michael Belmore to be artists-in-residence in the Haliburton Highlands Secondary School and work with the senior art students. Michael and Mary Anne worked with the students in the winter and spring, teaching the process of creating public sculpture – from concept to drawings to models to creating the sculpture out of clay to making a plaster cast to casting the sculpture in cement to installation. The lamp post was donated to the students for their sculpture by the Municipality of Minden Hills who were replacing their lamp posts on the main street of Minden. More Photos Previous Next

Charles O'Neil All Sculptures Embracing Eos Number on Map 13 Artist Charles O'Neil Material Wire, Steel Installation Date June 1, 2004 Learn About the Artist This sculpture depicts a man facing due east, with his arms raised high, greeting the morning sun and embracing the rosy-fingered goddess of the dawn, Eos. According to Greek mythology, Eos rose up into the sky from the river Okeanos at the start of each day, and with her rays of light dispersed the mists of the night. She was sometimes depicted riding a golden chariot drawn by winged horses, at other times she was shown borne aloft by her own pair of wings. Eos had an unquenchable desire for handsome young men, some say as the result of a curse laid upon her by the goddess Aphrodite. The story of the man depicted in Embracing Eos is unclear. Does he simply admire the beauty of Eos as she rises each morning? Was he one of her past lovers? Or is he another young man about to fall victim to her lust? Being a sculpture of black steel and dark wire, Embracing Eos can be difficult to see in the evening twilight. Some visitors have had such difficulty spotting the sculpture that they believe it has disappeared. Perhaps the sculpture is just hard to see in the evening, or perhaps the man of metal does leave at night, only to reappear in the morning to greet his seductive Eos. More Photos Previous Next

Mary Ellen Farrow created her piece Voyage as part of the 2017 sculpture symposium, Carved on the Canadian Shield, in celebration of Canada 150. Voyage Mary Ellen Farrow Materials: Limestone Installation Date: June 2017 Number on Map: 30 Go to Gallery Carved on the Canadian Shield Four artists from three countries visited Haliburton for a three week sculpture symposium in 2017 in celebration of Dysart 150, Ontario 150, and Canada 150. Beginning with a block of limestone, each artist was tasked with creating a piece that reflected the theme of carving on the Canadian Shield. Artist's Statement: When asked to participate in the 150 Sculpture Symposium, “Carved on the Canadian Shield”, I knew that I wanted to sculpt a canoe. The canoe is so much a part our heritage, created by the Indigenous People, used by the early settlers as transportation, exploration, trade, and commerce. Today the canoe is much a part of the local community, for sport and recreation, and is an integral part of the tourism trade. It is a bit of an enigma, seeing a canoe in the forest but that is part of the fun. I wanted it to be interactive, for children to be able to climb over it and play games in it, to simply enjoy. < Back to Sculptures

Youkie Stagg < Back Originally Published On: January 1, 2016 Originally Published By: Haliburton Echo Lissome #5 Written By: Youkie Stagg Work created by Andrew Rothfischer in 2014. Curvilinear shapes are repeated several times throughout nature, through water waves, grass blowing in the wind, to human silhouettes. For this reason, curvilinear shapes are seen throughout many pieces of artwork, and are more and more common within modern architecture. “Lissome #5” is one of a series of curvilinear pieces made of polished concrete and fused glass. One of the most beautiful aspects of “Lissome #5” is the way it is positioned is relation to the sun. The piece is set within the large boulders in front of the Haliburton School of Art + Design, and when the sun rises and sets, the sunlight shines through the glass within the piece and the piece appears to glow. “Lissome #5” embodies grace and flexibility which truly reflects its name. The Sculpture Forest offers free guided tours each Tuesday from 10-11:30 am and a shorter “Curator Selection” tour on Wednesday from 12:10 – 12:50. Meet at the kiosk in the Fleming College parking lot. < Previous Article Next Article >

Andrew Rothfischer All Sculptures Lissome 5 Number on Map 17 Artist Andrew Rothfischer Material Polished Concrete, Fused Glass Installation Date June 1, 2014 Learn About the Artist Lissome is intended to show the curvilinear form that is often repeated everywhere. People see it in the grass blowing in the wind, the line of the spine in the human body and even in the highways that form the overpasses arcing overhead. Using cement to make the curved shape and Kiln formed glass or recycled float glass to accent said curves Andy has created the Lissome series. The light filters differently through the glass chosen to give a different look throughout the day as well as throughout the seasons. More Photos Previous Next

Throwdown Collective < Art Huts Location Art Hut 3 Directions Installation Start: July 8, 2024 Installation End: Throwdown Collective Sculpture Forest Re-imagined 2019 A collection of photgraphs taken during the Throwdown Collective's performances in the Haliburton Sculpture Forest About the Artist Throwdown Collective Throwdown Collective Previous Next

2024 < All Sculptures 2024 Downtown Haliburton Sculpture Exhibition $2000.00 Red Woman Breanna Shanahan Red Woman This sculpture was created using forten cement and therapeutic bands. It stands 60 inches tall and is mounted on a treated steel cut base which is the shadow of the figure. This piece challenges objectified female bodies through a lens of sport and athleticism. Commonly in media, female figures are decapitated, focusing on their sexualization. Athletic therapeutic bands are used to make up gestural muscles in this piece. It sits confidently with chin up, composed only with appendages of action, reclaiming headlessness with hands resting crossed and feet relaxed. Like many of the objectified female figures we are used to, it is not about “who” this is, but rather about who it could be, allowing viewers to reflect on anatomy, physicality and dignity of such a body which is rarely exemplified. ~Breanna Shanahan~ Breanna Shanahan Breanna is a multi media artist and resides in Hamilton, Ontario. She graduated from the University of Toronto with an Honours In Art and Art History and Crime and Psych. She attended Sheridan College of Arts and Design receiving a Diploma in Fine Arts. Breanna also graduated with a Master of Fine Arts from Concordia University in Montreal, QC. She has exhibited her work in numerous exhibitions across Canada, in the United States and in Austria. Breanna is a noted author and has presented at many conferences across Canada. Artist Contact Information Email : breshanahan@gmail.com Website : www.breannashanahan.com Instagram: @ breanna.sh anahan