In 1792, Congress adopted the bald eagle as the symbol of the United States for its majestic beauty, strength and long life. The selection of a symbol had gone through three committees; the first was set up in 1776 and had been composed of Thomas Jefferson, John Adams and Benjamin Franklin.
The eagle is sacred to many Native American tribes who use the feathers in religious and cultural ceremonies. Despite their majesty, their association with the power of the country and their importance to Native peoples, farmers and ranchers thought they were like vermin and had nearly eradicated them by the end of the 19th century. The invention of DDT and its widespread use on crops cut their numbers even more. The passage of the Endangered Species Act in 1973 and the banning of DDT allowed them to begin to rebound.
From left: Hirschl & Adler Modern, Bald Eagle, cherry wood, 96 x 17½", by Elizabeth Turk; Paige Bradley, Inspiration, bronze, 28½ x 11 x 15"; Paige Bradley, Evolution II, painted bronze (Turquoise Candy), 14 x 10 x 10"
Paige Bradley, Fairy Tale, bronze, 35 x 10 x 24"
Mark Sublette Medicine Man Gallery, Maximus, bronze, ed. of 35, 20 x 17 x 11", by Star Liana York.
Sculptor Star Liana York discovered her model for Maximus at the New Mexico Wildlife Center in Espanola, not far from her studio. “Maxwell” had been brought to the center in 1991 with a gunshot wound to his right wing and foot, which resulted in a partial wing and toe amputation. York says, “I donned him ‘Maximus,’ and in this sculpture, gave him back the appendages he lost.”
York moved to the Southwest in 1985, having been brought up and gone to school on the East Coast. “I was drawn to come to the Southwest,” she says, “to become part of this rich cultural community which provides me with endless sources of inspiration and subject matter.” Inspired by the Native peoples of the region she is also deeply attached to its wildlife.
“When a character emerges from a work I am sculpting, I feel touched at a deeply intimate, subconscious level,” York says. “It is the essence in a work of art that makes it intensely personal and entirely universal at the same time.”
DDT had wiped out the eagle population on Catalina Island off the coast of Southern California. In 1980, the birds were reintroduced but residual DDT in the environment weakened the eggs causing their shells to break. By 2007, levels had decreased enough for the eagles to be reintroduced again. Since then, they have been able to reproduce across the island.
Clockwise from top left: 33 Contemporary Gallery, A Kiss, fired earth, hand-painted, 12 x 18 x 8", by Debra Balchen; Manitou Galleries, Grab the Bull by the Horns, bronze, ed. of 25, 6 x 9 x 9", by Paul Rhymer; Jane Hamilton Fine Art, Patchwork Totem Orange, ceramic, 55 x 16 x 16", by Russ Vogt; Manitou Galleries, Once and Future Kings, bronze, ed. of 25, 12 x 20 x 16", by Paul Rhymer; Pokey Park, La Mascarade, bronze, 22 x 11 x 13"
Roni Lynn Doppelt, Out of This World, bronze, ed. of 8, 24 x 10½ x 6"
Elizabeth Turk studied the songs of extinct and endangered birds for a new series of sculptures that she exhibited for the first time last year at the Catalina Island Museum. She went to the Macaulay Library, Cornell University Lab of Ornithology in Ithaca, New York, to listen to their collection of recordings of bird songs, many now extinct.
A California native, she had witnessed the devastating droughts and wildfires that have changed the environment and wiped out animal populations. She says, “I began researching birds as a symbol to ignite conversations on emptiness and extinction. Birdsongs are a backdrop to daily life. Their songs and colors reminisce on early mornings and childhood stories.”
Birdsongs vanish into the air leaving a memory behind. When she recorded the birdsongs at Cornell on her iPhone she noticed their visual representation in changing lines on the phone’s oscilloscope screen. She eventually came upon the idea to represent the images on the screen as three-dimensional sculptures, making the ephemeral sounds visible and permanent. Her vertical Sound Columns are fabricated in wood, aluminum, 3-D printed ABS filament and bronze.
Commemorating the return of the bald eagle to Catalina Island, its song is presented in cherry wood—a favorite wood for fine furniture at the time the bald eagle was selected as the country’s symbol.
Knox Galleries, Apollo 11, bronze, by George Lundeen, Mark Lundeen and Joey Bainer.
The sculptures found in this special section represent a number of other symbols and motifs, shining a light on the imaginations of the artists. Also highlighted is the artists’ innovation in medium and technique.
Artist Dana Maranto’s sculptures Vincent and Renaissance Woman are sculpted in terra cotta. “It is a water-based clay that is gray when wet. When it is fired in a kiln, it turns white. I use a special patina on them that gives them a soft, luminous glow that gives the appearance of some depth. Thus, the piece appears to look like it is sculpted in marble [but] without the weight or cost of marble,” Maranto says. “I take my inspiration from children and their budding possibilities. And the desire to be older than they are by mimicking what adults do.”
Deb Wight combines glass and copper for her colorful works of art. “When I create a work of art, I’m using color, texture and style to create pieces that will appeal to the senses; I want my work to inspire joy and happiness,” Wight says. “Purchase art that would make you smile in the morning and recharge you after a long day.”
33 Contemporary Gallery in Chicago represents artist Debra Balchen, who is inspired by the human form. “Here’s the reality of it. I am addicted. All starts out normally. Set up model, tools, clay at the ready. Start adding and subtracting clay, forms start to come together and then whoosh. I see a world in it. I fall in love,” Balchen says. “Every crevice, line and shadow has a secret, bringing me closer to a collective meditation where time has no beginning or no end. And then. Whoosh. My shoulder hurts, my hand is cramped; it is four hours later and the model is dying. I am addicted.”
Knox Galleries, Chip, bronze, ed. of 45, by Marvin Laber.
Knox Galleries, Clear Vision, bronze, ed. of 5, life-size, by Vala Ola.
Gedion Nyanhongo creates his sculptures using generation’s-old techniques of, and in the tradition of, the Shona Sculpture Movement of his homeland, Zimbabwe Africa. He carves, chisels and hones each one of a kind sculpture completely by hand and only by himself. His sculptures can be displayed in both indoor and outdoor settings.
He adds, “With my sculptures, I offer collectors endearing elements of my Shona culture—the traditional values of the importance of community, positive and respectful human relationships, and the sacredness of life.”
In Tucson, Arizona, collectors will find Jane Hamilton Fine Art, which represents a number of works by painters and sculptors, including handmade ceramic totems by Russ Vogt that are suitable for any climate. Gallery owner Jane Hamilton comments, “We have shipped as far as Massachusetts and delivered them in Tucson. People love the whimsical, colorful accent for their courtyard, backyard and outdoor living.”
Vogt says of his work, “My goal is to make colorful outdoor sculpture that people can relate to via the animal/human forms the sculpture sometimes alludes to, as well as the color and abstract shapes…Something to stop by and visit while strolling through the garden.”
From left: Gedion Nyanhongo, The Hug, hand-carved African spring stone, 84 x 21 x 16"; Paul Rhymer, Raven Celebrates Inventing The Wheel, bronze on stone, ed. of 25, life-size raven; Gedion Nyanhongo, One Love, One Soul, hand-carved African lapidolite, 19 x 15 x 10"
Olva Stewart Pharo, Can I Come, Too, bronze mounted on walnut base, 11 x 11½" (horse and rider) and 4 x 3¾" (dog)
La Galeria @ The Shaffer, Emerging Corn Maiden, cottonwood root, 10½ x 3", by Glenn Fred.
Head to New Mexico and explore La Galeria @ The Shaffer in the city of Mountainair. Among its artists creating three-dimensional works are Kathy Baur, who moved to the city after retiring from a career as a medical technician, and Hopi katsina carver Glenn Fred, who has been a master of his craft for 48 years.
Baur feels a visceral connection to the native peoples of the Southwest and it is reflected in her work. Though she does not attempt to replicate Native American art, her interpretations of animals, such as ravens and owls or her shaman-like figures, in clay or sandstone, evoke aboriginal designs.
From the Third Mesa in Arizona, and now living in San Ildefonso Pueblo, Fred carves his kastina from the cottonwood tree and many are done in the traditional style. He has recently begun experimenting with a contemporary carving method he calls “nativity style,” where human features are carved into the work. To these pieces he adds his unique touch of a carved, pleated skirting at the base of the garments.
Also located in New Mexico is Santa Fe-based Manitou Galleries with locations on West Palace Avenue and Canyon Road. Included in their roster of artists is Paul Rhymer, who is recognized for his contemporary wildlife sculptures. One of his newest pieces is Mama Bear, a life-size rendering of a black bear.
“When thinking about my next bear sculpture, I turned to a bear sculpture my mother did when she was 12. With permission, I enlarged it to life-size. [I was] so happy to collaborate with my mom on this project,” he says.
Deb Wight, Cascade Reflections, glass and copper, 37¾ x 37¾ x 3¼" (framed)
La Galeria @ The Shaffer, Fremont Triptych, ceramic on sandstone, 36 x 30" (total), by Kathy Baur.
Rhymer also likes to include architectural elements in his animal works “to reinforce our connection with wildlife,” he explains. “We often create myths and stories about animals, and anthropomorphize them to explain our own stories and beliefs.”
One such work is Raven Celebrates Inventing The Wheel, which puts a life-size bronze sculpture of a raven on a stone wheel. Rhymer explains, “For the Raven piece,
I created my own fable about her and her creative cleverness. Humans have done that since the beginning of language. Why stop now?”
Pokey Park also focuses on wildlife, with her pieces sometimes featuring more fantastical subjects. She grew up with deep coastal woods, wide beaches and wild tidal marshes in coastal Georgia. Early on, she saw nature, especially the animals, as she rode horseback and explored all of these environments. She started drawing and caring when she was 10 years old. 
Clockwise from top left: Pokey Park, Dragon Dreaming – Wu Xing, bronze, 22½ x 13½ x 15"; Manitou Galleries, Mama Bear, bronze (pre-cast), ed. of 25, 42 x 28 x 40", by Paul Rhymer; Dana Maranto, Renaissance Woman, terra cotta, 15 x 10 x 7"; Paul Rhymer, Flying Burrito Bros., bronze, ed. of 25, life-size; Gedion Nyanhongo, Mummy Look At Me, hand-carved African spring stone, 62 x 19 x 15"
Most of her work over the past 20 years or so has been of whimsical animals with the humor, personality and attitude that she sees in them. The artist’s work has also been influenced by her world of travel, and most recently, her study of animals in the Northern California region for a commission of 36 animal sculptures at a children’s hospital in Palo Alto, California, that was completed in 2019.
Olva Stewart Pharo has long been inspired by the horse. She even remembers being put on her uncle’s palomino, Bonita Mia, at only 14 months old. “The idea of capturing the beauty, power and spirit of each unique creature, be it horse, cat or dog, never tires for me,” she says. “That is why I enjoy doing portraits. I like the challenge to portray the spark, the essence that makes that individual so important to you. As a rider and competitor I have an intimate working knowledge of the horse that helps me in the creation of my art.”
La Galeria @ The Shaffer, She’s A Lady, ceramic, found tin and wood with guinea hen feathers on a travertine base, 15 x 7", by Kathy Baur.Paige Bradley’s powerful sculptures testify to the inner strength and fortitude woven into the fabric of a person’s soul. She is an artist who has the rare ability to turn our feelings into bronze. “I want to create works that connect to everyone; works that communicate our humanity in the world today,” says Bradley. “The greatest compliment I can receive is a hug or a tear, showing the profound connection between art and emotion is real.”
Recently, Bradley has combined her graceful figurative bronze sculptures with contemporary brilliant colors—an artistic evolution in the 21st century. She presents classic figures in bold, bright hues such as luscious pink and turquoise candy.
With intense emotions lending to her work, and a diverse, eclectic range of themes and depths of sensitivity, Roni Lynn Doppelt showcases a dynamic visual symphony established by a seamless cohesion of grand design and artistic ability. Wrapped around the cyclical nature of human emotions, her sculptures elicit the awe-inspiring powers and beauty of our expansive universe. She says, “My sculptures reflect my passion for traveling the world, and I enjoy sharing my adventures through my sculptural themes.” 
Roni Lynn Doppelt, Hanging Out, bronze, ed. of 8, 19½ x 20 x 8"
Roni Lynn Doppelt, Wave 2, bronze, ed. of 8, 17 x 18 x 14"
Knox Galleries in Beaver Creek, Colorado, showcases a wide array of sculptural works. The bronze Apollo 11, by George Lundeen, Mark Lundeen and Joey Bainer, was done to celebrate the first men to walk on the moon, and was placed at the Kennedy Space Center in Florida for the 50th anniversary of the landing.
Also featured at Knox is Marvin Laber’s bronze beaver skiing titled Chip, which was done because of the gallery’s location in the ski area of Beaver Creek. Larber says, “[It] was a good choice as it sells well, along with my other whimsical skiing and snowboarding sculptures of rabbits and [my] squirrel sculptures.”
The gallery also represents Vala Ola, whose Native American woman in Clear Vision has a rattle at her feet that lights up in the dark when shaken. Ola explains, “It symbolizes for me her light from within and her calling on the greater light of all. Her costume is inspired by the Ute tribe costumes. I imagine her perhaps perched on a boulder at Pikes Peak in Colorado where the Ute Mountain Ute would hunt. Perhaps she was wading barefoot in a mountain stream when something caught her eye in the distance. I’ll leave it to your imagination.” —
Featured Artists & Galleries
33 Contemporary Gallery
Zhou B Art Center, 4th Floor
1029 W. 35th Street, Chicago, IL 60609
www.artsy.net/33-contemporary
Dana Maranto
(410) 382-5959
dmaranto_4@msn.com
www.danamaranto.com
Deb Wight
Deb Wight Studios, (210) 508-6750
deb@debwightstudios.com
www.debwightstudios.com
Gedion Nyanhongo
(480) 255-4184
gedionnyanhongo@gmail.com
www.gediongalleries.com
Hirschl & Adler Modern
The Fuller Building
41 E. 57th Street
New York, NY 10022
(212) 535-8810
www.hirschlandadler.com
Jane Hamilton Fine Art
2890 E. Skyline Drive, Suite 180
Tucson, AZ 85718, (520) 529-4886
www.janehamiltonfineart.com
Knox Galleries
46 Avondale Lane, Beaver Creek, CO 81620
(970) 949-5564
www.knoxgalleries.com
La Galeria @ The Shaffer
103 W. Main Street, Mountainair, NM 87036
(505) 847-1137
lagaleriashaffer@gmail.com
www.lagaleria-theshaffer.com
Manitou Galleries
123 W. Palace Avenue
225 Canyon Road
Santa Fe, NM 87501
(505) 986-0440, Palace Avenue
(505) 986-9833, Canyon Road
info@manitougalleries.com
www.manitougalleries.com
Mark Sublette Medicine Man Gallery
6872 E. Sunrise Drive #130, Tucson, AZ 85750
(520) 722-7798
www.medicinemangallery.com
Olva Stewart Pharo
P. O. Box 625, Cypress, TX 77410
(281) 373-9304
portraits@texhorseman.com
www.olvastewartpharo.com
Paige Bradley
information@paigebradley.com
www.paigebradley.com
Paul Rhymer
Point of Rocks, MD
(301) 980-4429
paul@rhymerstudio.com
www.rhymerstudio.com
Pokey Park
www.pokeypark.com
Roni Lynn Doppelt
Roni Lynn D. Gallery
329 Worth Avenue, Suite 6
Palm Beach, FL 33480, (561) 271-8775
ronilynndoppelt@gmail.com
www.ronilynndoppelt.com
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