13.       Sarah Alexander: God Save Your Mad Parade - Welded hand hammered steel

The artist works in intricate layered detailed drawings and sculptures inspired by the artist's garden. There is covert symbolic meaning behind each plant and seed she collects and depicts. Working in a Maximalist style, Alexander creates towers of botanical timelines as they transition from one season to another, exploring the natural order of one’s life cycle, and the dynamics of power, ritual, and succession. The crowns address the madness of those seeking ultimate power and the destruction that that creates.

15.       Gail Bos: “Memorials” - Canvas, wood, found objects

These totems are temporary monuments to praise a few of the many who make enormous contributions to our communities.

11.      Anne Eder: “The Art of Change” - Cotton, starch, wire, pigments, paints, resin

Inspired by the process of metamorphosis, these sculptures draw on the forms of holometabolous insects. Their transformation is complete, yet they retain a memory of who they were before. It is achingly poetic.The chrysalis form of monarch butterflies are a simple yet elegant shape and come in shades of luminous green and turquoise. This is art, the unnecessary beauty that we are gifted by the natural world.

8.       Barbara Fletcher: Goldberg Variations - Aluminum, Foam, Canvas, Mixed Media, Resin

Artist, inventor, engineer Rube Goldberg who was the inspiration for the front side of my sculpture “Goldberg Variations” illustrated contraptions that used seemingly unconnected mechanical actions in the form of a chain reaction to ultimately achieve a very simple task. He was a keen observer of human nature and its foibles. I have chosen to replicate the feel of Goldberg’s work using satire, motion and symbols of games of chance. Goldberg’s work intrigues me as a metaphor for many things in contemporary society today. I feel he is pointing out the chaos brought upon us by industrialization and the fact that technology which is intended to simplify life could be having the opposite effect. The back side of my sculpture which is the inner workings of a giant clock with the world centered in the middle asks the question how much time does the world have?

16.       Liz Helfer - “Emergent Palette” - Acrylic, aluminum, polystyrene

"What is art?" is an open-ended question that quickly turns to philosophical discussion. Many posit that art is created in the viewer, you. You are invited to insert yourself directly into this artwork and become the art.

2.       Linda Hoffman: “Tree Harp” - Maple tree, gold leaf

When a cherished old maple tree came down in a storm, I hauled the trunk in sections into my studio to make a sculpture that would honor the tree. As I carved out the interior, this beautiful tree harp shape emerged. The growth pattern is how the tree reaches back into itself to isolate fungal disease from healthy wood. It heals as it grows — as the gold leaf reflects the sun’s light.

7.       Janet Kawada: “Fractions” - Wood, found objects, upcycled materials

My work uses materials from our world today. Taking into consideration the properties that those materials are imbued with and turning them upside down, sideways and inside out, I play with them until they become an other.

1.       Chris King: “Woven Hubcaps” - Found plastic hubcaps, up-cycled polyester rope, steel mesh core

A ban on textile disposal began in MA in 2022, just as winter produced an abundance of hubcap popping potholes, creating a dual source of up-cycled materials for this collaborative Worcester artist, teacher, and student sculpture. The sixth grade students wove up-cycled polyester rope between the spokes of plastic hubcaps collected from the roadside as an alternative to sending those materials to the landfill.

9.       Bette Ann Libby: “DNA: Discrimination Not Allowed” - MRI films, steel barrel ties, wire & paint

We are all human. MRI painted film spirals, which represent the double helix DNA molecule of human DNA which is found in every cell of the body. More than 99% of the chemical bases of DNA are the same in ALL people. This is art interpreting DNA and a visual statement that all people are created equal and should treat each other with respect and dignity.

6.   Mary McCusker: “Air Dry" - Plywood, colored chalk

These 7 foot clothespins are a fun part of an exploration and honoring of everyday objects that has been one of the main themes of my artwork. Their unexpected size requires that we take another look at this simple tool that has been part of our lives since childhood. Seeing them outside on their own results in our seeing them with fresh eyes and accessing the memories they evoke in a new way. Their height gives them an imposing presence and leads to a consideration of their relationship to each other as individuals. Today because of pressing environmental concerns they assume a new importance and remind us of a simple way any of us can do our part by remembering to Air Dry.

3.   Silvina Mizrahi: “Transform, Repurpose, Rejoice” - Wood, metal

Art possesses a remarkable ability to harness the power of transformation, repurposing, and rejoicing in the mundane and often overlooked aspects of life. It acts as a catalyst, turning ordinary materials into extraordinary creations, breathing new life into forgotten objects or spaces. My vision with this project is to repurpose an abandoned tree house into a sculpture with new significance. This transformative process is a testament to the resourcefulness of human creativity and prompts us to consider our perceptions of value and beauty. Through art, what was once discarded can become a source of joy and inspiration. The act of repurposing itself becomes a celebration—an ode to resilience and adaptability. Such quality of art mirrors the human capacity to find beauty and meaning in unexpected places, inviting us to appreciate the world with fresh eyes.

10.   Rachel Shatil: “Wall of Visibility - Sculpted aluminum mesh, wire, paint

The Wall of Visibility functions as a reverse mirror to much more common walls erected all around us – prison walls, oppression and segregation walls, and border walls. These walls are designed to visually disrupt landscapes and darken and obscure the other side. In contrast, the Wall of Visibility is a soft and fragile structure, open to all sides, whose bricks and mortars are human faces.

5. Adrienne Shishko + Suzanne Moseley: “There is no AWAY” - Synthetic, single-use trade show fabric, paint, garden mesh, aluminum wire, zip ties, steel cable

The installation serves as a poignant reflection on the intricate interplay between human desires and the environmental necessities. Specifically, it highlights the use of synthetic branded display materials for temporary convenience which exact a lasting toll on the environment, given their centuries-long decomposition period. The title, "There Is No Away II," underscores the stark reality that discarding such materials does not eradicate their impact; they persist.

4.   Marnie Sinclair: “Ginkgo Dance” - Copper sheets and rods, fishing line, swivels and rope

Nature’s repeated patterns are inspiring and a jumping off point for creating abstract work. This copper piece of three ginkgo leaves has been used to create this abstract piece of sculpture. The Ginkgo tree originated 270 million years ago and individual trees can live up to 3000 years. The leaf shapes of this ancient tree motivated my interest.

14.   Allen Spivack: “Cathedral of 28 Secrets” - Wood, wire mesh, acrylic plastic, assorted household objects

Memory and secrets are intertwined and inseparable, each the mirror image of the other. Memories stitch together how we construct our outside world that others see, and secrets shape the inner life we conceal from others. When we choose to bury memories, they become our secrets. Cathedral of 28 Secrets explores the secrets that animate our ives. Our secrets imprison us, forcing us to navigate life with caution and trepidation so as not to expose confidences and sordid tales that might bring shame on us or our family. Our societal secrets sustain our collective destructive and dehumanizing beliefs and customs. The design and display of these cubes have been influenced by Joseph Cornell’s Assemblages. Artmaking is the cultivation of vulnerability and I’ve been able to do that through my participation in the SWW outdoor art exhibition.              

12.   Dan Rocha:“ Olie” - PVC sheet / acrylic mirror/ paint

The use of mirrors adds a playfulness to the reflected environment; augmenting, and receding space, being both passive and assertive.