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George Pratt All Sculptures Pan Number on Map 02 Artist George Pratt Material Salt and Pepper Granite Installation Date May 1, 2003 Learn About the Artist One of Pan’s favourite sports was pursuing beautiful wood nymphs that strayed into the high forests where he lived. His strange, coarse goat-like features frightened the nymphs and they would flee in fear of him. From this we got the term “panic”. He was particularly smitten by one nymph whose name was Syrinx but she did not welcome his attentions. One day, being pursued by Pan, she came to the river. Exhausted, she beseeched the water nymphs to protect her. Just as Pan was about to grasp her, she was transformed into one of the many reeds that grew along the river bank. Frustrated, Pan plucked the reeds and fashioned them into the first flute. Since that day, he can be found playing sweet music on the flute which is the embodiment of his unrequited love. We have come to call his instrument the ‘pan-flute’ but more correctly, its name is Syrinx after Pan’s lost nymph. This sculpture was carved out of an 8,700 Kg (19,300 Lbs) block. By the time the sculpture was completed, George had removed more than 3,000 Kg (7,000 Lbs) of stone, an impressive feat considering the work was done outdoors in blackfly season! More Photos Previous Next

Tarzan Sithole All Sculptures Matriarchy Number on Map 36 Artist Tarzan Sithole Material Polished Springstone Installation Date November 1, 2020 Learn About the Artist Tarzan Sithole is a third-generation Zimbabwean stone sculptor. His works are also on display at the Kirstenbosch National Botanical Gardens and the Kew Gardens in London. This sculpture was donated by Sue Black and Chris Ralphs who owned a gallery in Mississauga. More Photos Previous Next

Marianne Reim All Sculptures Das Buch XXIII Number on Map 34 Artist Marianne Reim Material Steel, Chain Mail Installation Date January 1, 2019 Learn About the Artist Since 1994, Marianne Reim has been working on a series of books (DAS BUCH) cut from steel. They currently number 70. The books are personal interpretations of her history within a larger cultural history. These books contain steel pages, which can be turned and read, and they are bound. The antitheses of paperbacks, these books are constructed through a process of cutting, burning, and welding into the sheets of steel. In this manner, Marianne is able to inscribe a universal language through form and line. The content of the books emerges from memories. For example, DAS BUCH 10 was inspired by a visit to the Berlin Wall. DAS BUCH 18 contains a diary-like entry, another one in Latin reflects Marianne’s interest in the universality of language. Artist Statement: The specific forms of my work float on the surface of a well of memory. I create discreet objects, objects in series and installation. My preferred material is steel. In my constructions, the material wears its identity through rough-cut edges, visible welds and an undisguised slabness. I may combine them with glass, stone, text, and photographs. By cutting, burning and welding, experience and emotion are melded into steel. More Photos Previous Next

Jiří Genzer All Sculptures Harmony Number on Map 29 Artist Jiří Genzer Material Limestone Installation Date June 1, 2017 Learn About the Artist 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 Statement: I developed the idea for “Harmony” a number of years ago to express the concept of a harmonic relationship - supporting, helping and finding joy together. “Harmony” is a continuation of a previous work called “Balance” which portrays keeping all extremes in good balance. For us in Europe, Canada has always been a symbol of freedom, tolerance and harmonic relationships. That is why I chose the Harmony motif for the Sculpture Symposium “Carved on the Canadian Shield”. It represents my vision of Canada and my hopes for a positive future for your country, the Sculpture Forest and the Haliburton School of Art + Design. More Photos Previous Next

Susan Low-Beer All Sculptures Curled Figures Number on Map 08 Artist Susan Low-Beer Material Cement Installation Date October 1, 2003 Learn About the Artist These sculptures have been made from the same mold; the surface of each one will be altered to create the feeling of uniqueness. Although these sculptures are essentially the same, their gestures and consequently their emotional content changes with each altered position. More Photos Previous Next

Scott McKay All Sculptures Forest Screen Bench Number on Map E Artist Scott McKay Material Corten Steel Installation Date January 1, 2020 Learn About the Artist Wendy Wilkins, the patron who purchased Mother Earth and commissioned the Sun Bench to accompany it, thought it would be lovely to add a couple more Scott McKay one-of-a-kind benches to create Mother Earth’s living room where a whole family or group of friends could gather. So, she worked with the Sculpture Forest to commission two new nature inspired benches - Forest Screen Bench and Fire Bench - to complete the set and create Mother Earth's living room. In 2018 the Haliburton Sculpture Forest teamed up with the Haliburton Village BIA (business Improvement Area) to create the Downtown Haliburton Sculpture Exhibition. This featured the display of six sculptures on the main street from Ontario artists from June to October. McKay’s Mother Earth was one of them. Mother Earth is McKay’s vision of the classical mother figure who is one with the tree of life. More Photos Previous Next

Marianne Reim All Sculptures Terminus Number on Map 11 Artist Marianne Reim Material ¼ inch rolled steel Installation Date January 1, 2002 Learn About the Artist The specific forms of my work float on the surface of a well of memory. I create discreet objects, objects in series and installation. My preferred material is steel. In my constructions the material wears its identity through rough cut edges, visible welds and an undisguised slabness. I may combine them with wire, stone, text and miscellaneous findings. By cutting, burning and welding, experience, memory and emotion are melded into steel. More Photos Previous Next

George Hart All Sculptures Quadratic Whisper Number on Map 44 Artist George Hart Material Rebar Installation Date October 4, 2025 Learn About the Artist On October 3, 2025, George Hart led a hands-on workshop with students from Haliburton Highlands Secondary School and Fleming College - Haliburton School of Art + Design about the intersection of mathematics and sculpture. Students learned about the properties and applications of hyperboloids in our society. Students created their own model of an hyperboloid, which they were able to take home with them. In the afternoon, students worked with George to assemble a large ellipical hyperboloid using rebar rods. Students measured the rods, cut and assembled the rods on to a large wooden form and locked the parts together, using ties. Blacksmith artist, Mark Puigmarti, welded the junctions together. This unique piece offers visitors an opportunity to walk throught the centre of this sculpture. You have to look carefully for this sculpture, as it is nicely nestled in amongst the trees, waiting to be discovered! George Hart is a sculptor who uses mathematical ideas and computer technology in the design and fabrication of his artwork. He holds a PhD from MIT and is now retired from a career in the faculty of Columbia University and Stony Brook University. Hart co-founded the Museum of Mathematics in NYC and currently works from home in the Bruce Peninsula area in Ontario. His sculptures are exhibited around the world and can be seen at www.georgehart.com Funded by: More Photos Previous Next

Tizirai started sculpting in 1992 and was unwavering in his pursuit for excellency in his work until the day he died. Even in his last days when he was no longer feeling healthy, Tizirai still found strength to sculpt a few pieces as a way of taking his mind off his illness. During his lifetime, Tizirai’s work had an unmistakable trademark of contrasted handshakes. The Handshake sculptures were his expression of his need to see inter-racial unity, he shared Martin Luther’s dream of seeing a world were people are not judged by the colour of their skins but by the content of their character. Taurai Tigere-Tandi the Chairman of Chitungwiza Arts Centre described Tizirai Gumbere as a hardworking Artist who was focused on his work. *Adapted from Gumbere's obituary published on avacarts.com < All Artists Tizirai Gumbere ABOUT SCULPTOR Artist Bio Tizirai started sculpting in 1992 and was unwavering in his pursuit for excellency in his work until the day he died. Even in his last days when he was no longer feeling healthy, Tizirai still found strength to sculpt a few pieces as a way of taking his mind off his illness. During his lifetime, Tizirai’s work had an unmistakable trademark of contrasted handshakes. The Handshake sculptures were his expression of his need to see inter-racial unity, he shared Martin Luther’s dream of seeing a world were people are not judged by the colour of their skins but by the content of their character. Taurai Tigere-Tandi the Chairman of Chitungwiza Arts Centre described Tizirai Gumbere as a hardworking Artist who was focused on his work. *Adapted from Gumbere's obituary published on avacarts.com Tizirai Gumbere's Obituary Installed Sculptures Together We Achieve the Extraordinary Previous Sculpture Next Sculpture

Peter Wehrspann All Sculptures Current Number on Map B Artist Peter Wehrspann Material Oak, Steel Installation Date August 1, 2005 Learn About the Artist 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. More Photos Previous Next

Leo Sepa All Sculptures Moose Scraps Number on Map 10 Artist Leo Sepa Material Assemblage of retired vintage farm equipment and other hardware Installation Date June 1, 2001 Learn About the Artist Found objects are at the heart of this sculpture, aptly titled "Moose Scraps", an assemblage of retired vintage farm equipment and other hardware, formed into the shape of one of Canada's largest mammals, the moose. Like many of Leo’s sculptures, the 2.5 meter piece exudes wit and charm. More Photos Previous Next

Abies balsamea < Back Balsam Fir Ojibwe Name: zhingob Scientific Name: Abies balsamea Significance in Ojibwe Cultures: The antimicrobial effects of Balsam Fir were found to be potent enough that Indigenous Peoples used the oil as an antiseptic on wounds. How to Identify the Leaves: "The balsam fir is one of the most recognizable trees in Ontario. It’s tall and narrow and tapers to a skinny point at the top. It looks a bit like a church steeple. When the tree is young, its bark is covered in sap blisters. The sticky sap is always on the tree, so be careful not to brush up against it. Its cones are barrel shaped and greyish brown and are 4 to 10 centimetres long. Its needles are 2 to 4 centimetres long and dark and shiny green, with two white bands underneath." Sources: Translation: https://ojibwe.lib.umn.edu/main-entry/zhingob-na Image: https://www.ontario.ca/page/balsam-fir Significance in Ojibwe Cultures: https://ojibwe.lib.umn.edu/main-entry/zhingob-na How to Identify Tree: https://www.ontario.ca/page/balsam-fir < Back Next >