Interactive Map
EXTENT
YELLOW DOT
A Quiet Beauty Assumes Our Valley
Bob Kingsmill ( 2000 )
120 heavily-carved stoneware tiles are arranged in a large, colourful mural depicting the many moods and hues of the Okanagan landscape.
[more details]
YELLOW DOT
Bob Kingsmill ( 2000 )
120 heavily-carved stoneware tiles are arranged in a large, colourful mural depicting the many moods and hues of the Okanagan landscape.
[more details]
Aerosol Art Mural
Lars Widell ( 2006 )
This project, with support from the Public Art fund, was an initiative of the Graffiti Eradication & Prevention program. Brilliant colours and whimsical forms progress through an image moving from the lake at one end to vineyards, orchards and gardens at the other.
[more details]
YELLOW DOT
Lars Widell ( 2006 )
This project, with support from the Public Art fund, was an initiative of the Graffiti Eradication & Prevention program. Brilliant colours and whimsical forms progress through an image moving from the lake at one end to vineyards, orchards and gardens at the other.
[more details]
Cenotaph
Design: Andrew Gibbs (City of Kelowna) and Don Ferguson (Site 360)Fabrication and installation: West Coast Monuments and West-Wind Nurseries ( 2006 )
This group of monuments situated in an expansive plaza honours Kelowna's war and peacekeeping personnel lost in World War I, World War II, Korea and other military operations. The Veendam Walkway is dedicated to one of Kelowna's sister cities, Veendam, Holland, liberated by local troops in 1944.
[more details]
YELLOW DOT
Design: Andrew Gibbs (City of Kelowna) and Don Ferguson (Site 360)Fabrication and installation: West Coast Monuments and West-Wind Nurseries ( 2006 )
This group of monuments situated in an expansive plaza honours Kelowna's war and peacekeeping personnel lost in World War I, World War II, Korea and other military operations. The Veendam Walkway is dedicated to one of Kelowna's sister cities, Veendam, Holland, liberated by local troops in 1944.
[more details]
Circle of Friendship
Geert Maas ( 1997 )
This stainless steel sculpture, donated by the artist, stands in memory of Yukihisa (Roy) Tanaka, and is testament to the close relationship between the City of Kelowna, its Japanese sister-city of Kasugai, and the local Japanese Canadian community.
[more details]
YELLOW DOT
Geert Maas ( 1997 )
This stainless steel sculpture, donated by the artist, stands in memory of Yukihisa (Roy) Tanaka, and is testament to the close relationship between the City of Kelowna, its Japanese sister-city of Kasugai, and the local Japanese Canadian community.
[more details]
Concept to Creation
Diane Gorvin, Philip Bews and Jonathan Yeltatzie ( 2002 )
3 wooden obelisks are connected by a sweeping stainless steel arc and topped by bronze sculptures representing the flow of creativity from an idea to a fully realized work. Created during the Okanagan Thompson International Sculpture Symposium.
The various elements of the piece are a physical manifestation of the scientific premise that all activity and creativity stem from within the brain.
Philip Bews shaped three Western Red Cedar logs into tapered obelisks and with assistance from Haida carver Jonathan Yeltatzie added low relief carving on the lower sections of the four faces. Each Obelisk represents an art form: literature, visual arts and performing arts. Positioned on concrete bases with stainless steel brackets, the obelisks are connected by a stainless steel arc.
The half circle curve of the arc creates a welcoming point of entry for people approaching from the adjacent Artwalk and can also be read as a visual metaphor for the smooth flow of creativity from concept to execution. It also references the architectural curve of the atrium's roofline.
Two of the obelisks support bronze elements. The tallest obelisk features a cast bronze acrobat figure created by Diane Gorvin. Originally modeled in plaster, the figure symbolizes creativity in action.
The inner obelisk is topped by a large cast bronze Thinking Head decorated with cutout figures. The figures represent creative thoughts becoming tangible.
The third obelisk stands alone but unifies the three as the sweep of the arc symbolizes unlimited imagination.
Concept to Creation also includes two marble 'podia' each featuring three pairs of shallow footprints carved into the upper surface. The footprints make reference to the three sculptures made in Kelowna by other Symposium sculptors, Zhao Lei, Marion Lea Jamieson and Dawn MacNutt. Zhao Lei carved the set of footprints linked to his work 'I Had A Dream.'
[more details]
YELLOW DOT
Diane Gorvin, Philip Bews and Jonathan Yeltatzie ( 2002 )
3 wooden obelisks are connected by a sweeping stainless steel arc and topped by bronze sculptures representing the flow of creativity from an idea to a fully realized work. Created during the Okanagan Thompson International Sculpture Symposium.
The various elements of the piece are a physical manifestation of the scientific premise that all activity and creativity stem from within the brain.
Philip Bews shaped three Western Red Cedar logs into tapered obelisks and with assistance from Haida carver Jonathan Yeltatzie added low relief carving on the lower sections of the four faces. Each Obelisk represents an art form: literature, visual arts and performing arts. Positioned on concrete bases with stainless steel brackets, the obelisks are connected by a stainless steel arc.
The half circle curve of the arc creates a welcoming point of entry for people approaching from the adjacent Artwalk and can also be read as a visual metaphor for the smooth flow of creativity from concept to execution. It also references the architectural curve of the atrium's roofline.
Two of the obelisks support bronze elements. The tallest obelisk features a cast bronze acrobat figure created by Diane Gorvin. Originally modeled in plaster, the figure symbolizes creativity in action.
The inner obelisk is topped by a large cast bronze Thinking Head decorated with cutout figures. The figures represent creative thoughts becoming tangible.
The third obelisk stands alone but unifies the three as the sweep of the arc symbolizes unlimited imagination.
Concept to Creation also includes two marble 'podia' each featuring three pairs of shallow footprints carved into the upper surface. The footprints make reference to the three sculptures made in Kelowna by other Symposium sculptors, Zhao Lei, Marion Lea Jamieson and Dawn MacNutt. Zhao Lei carved the set of footprints linked to his work 'I Had A Dream.'
[more details]
Dancing Pedestrians
Jock Hildebrand ( 2002 )
This pair of cast bronze works was a joint project between the Public Art Fund and BMO Bank of Montreal. It celebrates human movement and interaction at an historic downtown intersection, a commercial hub for over 100 years.
Work on “Dancing Pedestrians” began with the creation of plaster positives of the eight and four-foot figures. These were then cut into sections, coated in wax and covered in ceramic slurry. Once kiln-fired at the artist’s studio, the melted wax left room for molten bronze (the “lost wax” process).
The individual bronze pieces were then welded together, sandblasted and polished. Patinas such as potassium sulfide, copper sulphate and ferric chloride brought out the hue of the finished work.
[more details]
YELLOW DOT
Jock Hildebrand ( 2002 )
This pair of cast bronze works was a joint project between the Public Art Fund and BMO Bank of Montreal. It celebrates human movement and interaction at an historic downtown intersection, a commercial hub for over 100 years.
Work on “Dancing Pedestrians” began with the creation of plaster positives of the eight and four-foot figures. These were then cut into sections, coated in wax and covered in ceramic slurry. Once kiln-fired at the artist’s studio, the melted wax left room for molten bronze (the “lost wax” process).
The individual bronze pieces were then welded together, sandblasted and polished. Patinas such as potassium sulfide, copper sulphate and ferric chloride brought out the hue of the finished work.
[more details]
Elemental
Crystal Pryzbille ( 2002 )
Look for design elements representing the Okanagan in the inner circle (fish and waves), the corners (trees and fruit), and the edges (sun). These grates are a good example of functional public art.
Each cast iron grate is forty-eight inches square, with a depth of one inch at the perimeter. The grate's inner ring can be removed to accommodate tree growth.
As the cast iron is exposed to the elements it oxidizes and develops a rust-coloured hue; eventually the grates will be dark brown.
The tree grates have been installed along Cawston Avenue and in the Arts Common west of the Rotary Centre for the Arts as well as various locations throughout downtown and the Abbott Street Heritage Conservation Area.
[more details]
YELLOW DOT
Crystal Pryzbille ( 2002 )
Look for design elements representing the Okanagan in the inner circle (fish and waves), the corners (trees and fruit), and the edges (sun). These grates are a good example of functional public art.
Each cast iron grate is forty-eight inches square, with a depth of one inch at the perimeter. The grate's inner ring can be removed to accommodate tree growth.
As the cast iron is exposed to the elements it oxidizes and develops a rust-coloured hue; eventually the grates will be dark brown.
The tree grates have been installed along Cawston Avenue and in the Arts Common west of the Rotary Centre for the Arts as well as various locations throughout downtown and the Abbott Street Heritage Conservation Area.
[more details]
Escape to Stella Polaris
John Nutter and Thor Erling Sunde ( 2000 )
This massive metal and glass sculpture reveals a flight of birds ready to escape. The birds and glass etchings depict species and symbols from the Okanagan's natural history. This commission was part of the Airport Terminal expansion project and is the focal point of the atrium at Kelowna International Airport.
All images applied to the glass are created through an abrasive etching process called sandblast carving, using aluminum oxide as the abrasive. The glass is first covered with a layer of rubber resist. The art work is transferred to the resist as a line drawing and all lines are cut with a knife. These areas are exposed one at a time.
The total height of the finished sculpture is 15 feet with a width of 9 feet. The bent glass itself weighs a total of 2880 lbs., when the weight of the stainless steel metal frame is added the entire piece weighs 5200 lbs.
[more details]
YELLOW DOT
John Nutter and Thor Erling Sunde ( 2000 )
This massive metal and glass sculpture reveals a flight of birds ready to escape. The birds and glass etchings depict species and symbols from the Okanagan's natural history. This commission was part of the Airport Terminal expansion project and is the focal point of the atrium at Kelowna International Airport.
All images applied to the glass are created through an abrasive etching process called sandblast carving, using aluminum oxide as the abrasive. The glass is first covered with a layer of rubber resist. The art work is transferred to the resist as a line drawing and all lines are cut with a knife. These areas are exposed one at a time.
The total height of the finished sculpture is 15 feet with a width of 9 feet. The bent glass itself weighs a total of 2880 lbs., when the weight of the stainless steel metal frame is added the entire piece weighs 5200 lbs.
[more details]
Fruit Stand
Glen Andersen and T.S. Thomas ( 2002 )
This whimsical tribute to Kelowna's agricultural history consists of seven concrete and terrazzo fruit forms on five benches, accompanied by mosaics of vintage fruit box labels from the 1930's and 40's.
The halved fruit pieces reveal an inner terrazzo face and all of the fruit sculptures offer additional, botanically-accurate details in their seeds, pits and leaves.
The large, smoothed, precise forms evoke the bold eroticism of fruit and celebrate its formal beauty. They also make playful reference to the oversized roadside “folk” art found across North America.
The halved fruit is also an invitation; the pieces face each other as if in conversation revealing their exposed 'inner selves,' perhaps encouraging passers-by to linger and do the same.
The window aperture in each of the bench backrests subtly conveys the “Fruit Stand” concept. It might be a concession window, a doorway, perhaps even the back of a pick-up truck hatch down, a lone independent fruit seller on the roadside – the imagination is free to roam.
At 26” high by 30” wide, the mosaic vignettes tiles create an intermittent “stream” of colour along the walls. All the tiles are specially imported Byzantine and Venetian glass mosaics.
[more details]
YELLOW DOT
Glen Andersen and T.S. Thomas ( 2002 )
This whimsical tribute to Kelowna's agricultural history consists of seven concrete and terrazzo fruit forms on five benches, accompanied by mosaics of vintage fruit box labels from the 1930's and 40's.
The halved fruit pieces reveal an inner terrazzo face and all of the fruit sculptures offer additional, botanically-accurate details in their seeds, pits and leaves.
The large, smoothed, precise forms evoke the bold eroticism of fruit and celebrate its formal beauty. They also make playful reference to the oversized roadside “folk” art found across North America.
The halved fruit is also an invitation; the pieces face each other as if in conversation revealing their exposed 'inner selves,' perhaps encouraging passers-by to linger and do the same.
The window aperture in each of the bench backrests subtly conveys the “Fruit Stand” concept. It might be a concession window, a doorway, perhaps even the back of a pick-up truck hatch down, a lone independent fruit seller on the roadside – the imagination is free to roam.
At 26” high by 30” wide, the mosaic vignettes tiles create an intermittent “stream” of colour along the walls. All the tiles are specially imported Byzantine and Venetian glass mosaics.
[more details]
GO
i.e. creative (Cheryl Hamilton and Michael Vandermeer) ( 2004 )
This dynamic sculpture, suspended high above the main entrance to a community sports facility, is made of highly polished stainless steel, studded with jewel-like orbs of blown glass. Its kinetic form refers to the fun and energy of movement and sport.
The sculpture consists of a gently spiraling 40 foot long, 4-inch diameter stainless steel spine, supporting a playful array of steel coiled tubes, hoops, spheres, ribbons and spirals. The highly reflective mirrored surface of the spine and other elements is the result of hundreds of hours of hand grinding and polishing by the artists. The mouth blown glass orbs were created by Cheryl Hamilton in collaboration with experienced glass artisans specifically for this project.
'Go' was fabricated in transportable segments in the studio of ie creative, located on Granville Island in Vancouver.
[more details]
YELLOW DOT
i.e. creative (Cheryl Hamilton and Michael Vandermeer) ( 2004 )
This dynamic sculpture, suspended high above the main entrance to a community sports facility, is made of highly polished stainless steel, studded with jewel-like orbs of blown glass. Its kinetic form refers to the fun and energy of movement and sport.
The sculpture consists of a gently spiraling 40 foot long, 4-inch diameter stainless steel spine, supporting a playful array of steel coiled tubes, hoops, spheres, ribbons and spirals. The highly reflective mirrored surface of the spine and other elements is the result of hundreds of hours of hand grinding and polishing by the artists. The mouth blown glass orbs were created by Cheryl Hamilton in collaboration with experienced glass artisans specifically for this project.
'Go' was fabricated in transportable segments in the studio of ie creative, located on Granville Island in Vancouver.
[more details]
Grizzly Bears
M. Jacobi ( 1964 )
This concrete sculpture (along with Ogopogo) is one of Kelowna's oldest surviving sculptural installations and many people remember visiting it as children. It reminds us of the connection between 'Kelowna' and its original meaning 'grizzly bear' in the Okanagan First Nation language.
[more details]
YELLOW DOT
M. Jacobi ( 1964 )
This concrete sculpture (along with Ogopogo) is one of Kelowna's oldest surviving sculptural installations and many people remember visiting it as children. It reminds us of the connection between 'Kelowna' and its original meaning 'grizzly bear' in the Okanagan First Nation language.
[more details]
Growth
Karl Ciesluk ( 2007 )
'Growth' consists of seven sculptures, installed at three different locations along the Brandt's Creek Linear Pathway, between Kane Road and Yates Road in the Glenmore area of Kelowna.
Each piece, made of natural stone, refers in an abstract way to a piece of fruit cut in half. All of the stones are different in size and shape, but each has a flat surface which is decorated using a variety of materials and techniques, including carving, mosaic, and added smaller elements resembling the 'seeds' in the stone fruit.
The scale and location for the stones allows for them to serve a functional purpose as a resting place from which viewers can enjoy the creekside and park setting.
Location #1, just off Kane Road and behind the Brandt's Creek Pub, is home to one piece, made of granite. The flat surface is decorated with carving and 3 'seeds' of unknown stone material.
Location #2, further south along the pathway and at the entrance to Sutton Glen Park, contains three sculptures, two of them in one planting bed and a third in a bed across the pathway. In the first bed, the stone on its side is made of granite and its smoothed flat surface is decorated with two seeds of unknown stone material. The second stone is quartzite with a seed of granite quartzite combination, surrounded by an onyx mosaic. Across the path, the third stone is quartzite with two small seeds of unknown stone material.
The final location is found at a pathway crossroads in front of the Valley Glen wetland, a 5-10 minute walk south of Sutton Glen. This dramatic pond-side location houses 3 stones, one decorated with porcelain mosaic and one seed, another with a grey, white and black granite terrazzo surface and one seed, and a final stone with one seed of granite.
In the words of artist Karl Ciesluk, 'I see my fruit as capsules awaiting the right conditions to grow and flourish into their glory before once more retreating to a dormant state to await renewal. Towns, villages and civilizations throughout history also experience this same process.
The seeds of the fruits are a metaphor for the growth and change of your community - a symbol of renewal and celebration of growth, continually going through this cycle of dormancy and revival.'
[more details]
YELLOW DOT
Karl Ciesluk ( 2007 )
'Growth' consists of seven sculptures, installed at three different locations along the Brandt's Creek Linear Pathway, between Kane Road and Yates Road in the Glenmore area of Kelowna.
Each piece, made of natural stone, refers in an abstract way to a piece of fruit cut in half. All of the stones are different in size and shape, but each has a flat surface which is decorated using a variety of materials and techniques, including carving, mosaic, and added smaller elements resembling the 'seeds' in the stone fruit.
The scale and location for the stones allows for them to serve a functional purpose as a resting place from which viewers can enjoy the creekside and park setting.
Location #1, just off Kane Road and behind the Brandt's Creek Pub, is home to one piece, made of granite. The flat surface is decorated with carving and 3 'seeds' of unknown stone material.
Location #2, further south along the pathway and at the entrance to Sutton Glen Park, contains three sculptures, two of them in one planting bed and a third in a bed across the pathway. In the first bed, the stone on its side is made of granite and its smoothed flat surface is decorated with two seeds of unknown stone material. The second stone is quartzite with a seed of granite quartzite combination, surrounded by an onyx mosaic. Across the path, the third stone is quartzite with two small seeds of unknown stone material.
The final location is found at a pathway crossroads in front of the Valley Glen wetland, a 5-10 minute walk south of Sutton Glen. This dramatic pond-side location houses 3 stones, one decorated with porcelain mosaic and one seed, another with a grey, white and black granite terrazzo surface and one seed, and a final stone with one seed of granite.
In the words of artist Karl Ciesluk, 'I see my fruit as capsules awaiting the right conditions to grow and flourish into their glory before once more retreating to a dormant state to await renewal. Towns, villages and civilizations throughout history also experience this same process.
The seeds of the fruits are a metaphor for the growth and change of your community - a symbol of renewal and celebration of growth, continually going through this cycle of dormancy and revival.'
[more details]
H2O
Kirsty and Philip Robbins ( 2002 )
Water-jet cut aluminum 'molecules' splash their way across the entranceway floor and continue in a froth of etched bubbles and waves on the second storey glass wall, all in celebration of water's dynamic, fluid nature.
[more details]
YELLOW DOT
Kirsty and Philip Robbins ( 2002 )
Water-jet cut aluminum 'molecules' splash their way across the entranceway floor and continue in a froth of etched bubbles and waves on the second storey glass wall, all in celebration of water's dynamic, fluid nature.
[more details]
I Had a Dream
Zhao Lei ( 2002 )
Two white marble pieces, inscribed with poetry and natural forms, reflect the artist's interest in achieving balance between human society and the environment. Created during the Okanagan Thompson International Sculpture Symposium.
Donated by a Vancouver Island quarry, the six tons of white marble were slowly transformed by the artist over a three month period, using a hammer and chisel to shave off pieces of the rocks’ rough gray exterior to reveal the silky white material beneath. Polishing was done with an electric sander.
Zhao Lei’s inspiration comes from a poem he wrote which can be found inscribed in English and Chinese on the larger piece.
“...I saw a stone in the wilderness. Ripples of water were frozen on the surface of the stone, just like fossils, … but there is a sad story behind it forever - the tragedy of humanity. I hope this will not be our future, and will remain a dream.” - Zhao Lei
The smaller piece is shaped like a rippling marble seat, providing an ideal vantage point for contemplating the beach and water.
Zhao Lei's work reflects his fear that an ever-advancing industrial society will so damage the environment that even water may one day become extinct, leaving only fossilized remains of its existence.
The artist comments further, 'When I create I can hear the sound of a drop of water, of insects singing and I am one with nature… I hope the public will understand the relationship and the power of art in shaping culture and societies.'
[more details]
YELLOW DOT
Zhao Lei ( 2002 )
Two white marble pieces, inscribed with poetry and natural forms, reflect the artist's interest in achieving balance between human society and the environment. Created during the Okanagan Thompson International Sculpture Symposium.
Donated by a Vancouver Island quarry, the six tons of white marble were slowly transformed by the artist over a three month period, using a hammer and chisel to shave off pieces of the rocks’ rough gray exterior to reveal the silky white material beneath. Polishing was done with an electric sander.
Zhao Lei’s inspiration comes from a poem he wrote which can be found inscribed in English and Chinese on the larger piece.
“...I saw a stone in the wilderness. Ripples of water were frozen on the surface of the stone, just like fossils, … but there is a sad story behind it forever - the tragedy of humanity. I hope this will not be our future, and will remain a dream.” - Zhao Lei
The smaller piece is shaped like a rippling marble seat, providing an ideal vantage point for contemplating the beach and water.
Zhao Lei's work reflects his fear that an ever-advancing industrial society will so damage the environment that even water may one day become extinct, leaving only fossilized remains of its existence.
The artist comments further, 'When I create I can hear the sound of a drop of water, of insects singing and I am one with nature… I hope the public will understand the relationship and the power of art in shaping culture and societies.'
[more details]
Kelowna's Centennial Aquatic History
Picasso Productions (Don Makela) ( 2005 )
This 38-panel mural project, undertaken as part of Kelowna's Centennial celebrations in 2005, features people, places and activities from Kelowna's rich aquatic sports history, starting with sepia-toned images from the early days and ending with colouful contemporary scenes.
Each of the panels (made of a sound-suppressing material) is between 32 and 40 square feet in size. The artist was able to achieve incredible detail despite the rough surface of the material.
The panels are suspended above the pool area.
[more details]
YELLOW DOT
Picasso Productions (Don Makela) ( 2005 )
This 38-panel mural project, undertaken as part of Kelowna's Centennial celebrations in 2005, features people, places and activities from Kelowna's rich aquatic sports history, starting with sepia-toned images from the early days and ending with colouful contemporary scenes.
Each of the panels (made of a sound-suppressing material) is between 32 and 40 square feet in size. The artist was able to achieve incredible detail despite the rough surface of the material.
The panels are suspended above the pool area.
[more details]
Leaf Bench
Design: Site 360 (Don Ferguson & Bob Evans)Fabrication: Mel Gunn ( 2006 )
Commissioned by Canada Lands Company and donated to the City of Kelowna, this Brazilian cherry wood bench provides an ideal vantage point for viewing of 'Leap of Faith' and a restful spot to enjoy the creekside setting.
[more details]
YELLOW DOT
Design: Site 360 (Don Ferguson & Bob Evans)Fabrication: Mel Gunn ( 2006 )
Commissioned by Canada Lands Company and donated to the City of Kelowna, this Brazilian cherry wood bench provides an ideal vantage point for viewing of 'Leap of Faith' and a restful spot to enjoy the creekside setting.
[more details]
Leap of Faith
Doug Alcock ( 2001 )
A forged steel heron stands poised in the creek. Commissioned by Canada Lands Company and donated to the City of Kelowna as part of the revitalization of the Brandt's Creek Corridor and linear walkway.
[more details]
YELLOW DOT
Doug Alcock ( 2001 )
A forged steel heron stands poised in the creek. Commissioned by Canada Lands Company and donated to the City of Kelowna as part of the revitalization of the Brandt's Creek Corridor and linear walkway.
[more details]
Martin Avenue Mosaics
Project Artist: Holliby RossLead Organization: North End Residents' AssociationProject Coordinator: Meredith Ferner ( 2007 )
The Martin Avenue Mosaics project, installed in the park and playground area behind the Martin Avenue Community Centre, is comprised of three artist-designed concrete benches, decorated with approximately 200 mosaic tiles painted by neighbourhood residents. Many of the tiles bear either a name or a self-portrait, making them a friendly tribute to the community surrounding the Park. The benches also include pebble mosaics depicting a number of Okanagan themes.
The decorated tiles are laid side by side, in a row, representing bringing people together. Many of the people who painted a tile had never been involved in art-making before.
Accompanying each of the benches is an Emerald Queen Maple tree, which will add beauty in all seasons and much-needed shade and respite in the summer. They serve as a reminder of the value of precious green space in a growing city.
The tiles were painted by people of all backgrounds and ages during a series of workshops held in the summer of 2007.
Two of the benches are within the enclosed playground area, with trees close by, and the third bench, with its accompanying tree is at the edge of the park adjacent to the walkway.
[more details]
YELLOW DOT
Project Artist: Holliby RossLead Organization: North End Residents' AssociationProject Coordinator: Meredith Ferner ( 2007 )
The Martin Avenue Mosaics project, installed in the park and playground area behind the Martin Avenue Community Centre, is comprised of three artist-designed concrete benches, decorated with approximately 200 mosaic tiles painted by neighbourhood residents. Many of the tiles bear either a name or a self-portrait, making them a friendly tribute to the community surrounding the Park. The benches also include pebble mosaics depicting a number of Okanagan themes.
The decorated tiles are laid side by side, in a row, representing bringing people together. Many of the people who painted a tile had never been involved in art-making before.
Accompanying each of the benches is an Emerald Queen Maple tree, which will add beauty in all seasons and much-needed shade and respite in the summer. They serve as a reminder of the value of precious green space in a growing city.
The tiles were painted by people of all backgrounds and ages during a series of workshops held in the summer of 2007.
Two of the benches are within the enclosed playground area, with trees close by, and the third bench, with its accompanying tree is at the edge of the park adjacent to the walkway.
[more details]
Natural Language
Jennifer Macklem and Kip Jones ( 2000 )
'Natural Language' consists of two works: a functional spiral bench and a rotating 12-foot mobius 'infinity' form, both made of cast stainless steel. The bench is enhanced with representations of biological diversity (look for the hidden bird's nest) and the mobius features letters and symbols derived from the worlds's alphabets.
“Our public art proposal for the Kelowna Library was inspired from ideas concerning language and the connections between nature and culture that one discovers with a library.” (Sculptors Macklem and Jones, 1999)
The diversity of the letters and symbols used in the rotating mobius form evokes consideration of and respect for different cultures. The inner and outer sides of the upright form “related to the internal/external nature of language – through language and text our internal thoughts, stories or ideas become part of the broader world, and they loop again back into someone’s subjective reading.” (Macklem and Jones, 1999)
In contrast to the upright mobius, the spiral bench seems to emerge from the ground. The spiral incorporates cut out, engraved and three-dimensional representations of plant, fossil, insect and animal life.
Construction of these two sculptures required almost a year of artistic effort utilizing the “lost wax” method. The process consists of moulding wax into a desired shape, casting and firing it in ceramic whereby the wax is “lost”, then pouring molten stainless steel into the ceramic mould to complete the initial fabrication.
This initial casting phase is followed by labourious grinding, detailing and polishing to create the highly reflective, smooth surface.
[more details]
YELLOW DOT
Jennifer Macklem and Kip Jones ( 2000 )
'Natural Language' consists of two works: a functional spiral bench and a rotating 12-foot mobius 'infinity' form, both made of cast stainless steel. The bench is enhanced with representations of biological diversity (look for the hidden bird's nest) and the mobius features letters and symbols derived from the worlds's alphabets.
“Our public art proposal for the Kelowna Library was inspired from ideas concerning language and the connections between nature and culture that one discovers with a library.” (Sculptors Macklem and Jones, 1999)
The diversity of the letters and symbols used in the rotating mobius form evokes consideration of and respect for different cultures. The inner and outer sides of the upright form “related to the internal/external nature of language – through language and text our internal thoughts, stories or ideas become part of the broader world, and they loop again back into someone’s subjective reading.” (Macklem and Jones, 1999)
In contrast to the upright mobius, the spiral bench seems to emerge from the ground. The spiral incorporates cut out, engraved and three-dimensional representations of plant, fossil, insect and animal life.
Construction of these two sculptures required almost a year of artistic effort utilizing the “lost wax” method. The process consists of moulding wax into a desired shape, casting and firing it in ceramic whereby the wax is “lost”, then pouring molten stainless steel into the ceramic mould to complete the initial fabrication.
This initial casting phase is followed by labourious grinding, detailing and polishing to create the highly reflective, smooth surface.
[more details]
Ogopogo
Peter Soelin ( 1960 )
Visitors to Kelowna are often seen photographing this cheerful fiberglass rendering of Okanagan Lake's most famous resident, Ogopogo, who was originally named N'Ha-a-a-itk or 'Lake Serpent Spirit' by the area's First Nation peoples.
[more details]
YELLOW DOT
Peter Soelin ( 1960 )
Visitors to Kelowna are often seen photographing this cheerful fiberglass rendering of Okanagan Lake's most famous resident, Ogopogo, who was originally named N'Ha-a-a-itk or 'Lake Serpent Spirit' by the area's First Nation peoples.
[more details]
Okanagan Sunflowers
Jo Scott-B ( 2002 )
The Arrowleaf Balsamroot(Balsamorhiza Sagittata) was selected as Kelowna's official flower in 2001. This drought tolerant, exuberant wildflower was an important food plant for First Nation peoples. Jo Scott-B's acrylic-on-canvas painting was selected from over 100 community submissions.
The dimensions of the painting are 24" x 30".
[more details]
YELLOW DOT
Jo Scott-B ( 2002 )
The Arrowleaf Balsamroot(Balsamorhiza Sagittata) was selected as Kelowna's official flower in 2001. This drought tolerant, exuberant wildflower was an important food plant for First Nation peoples. Jo Scott-B's acrylic-on-canvas painting was selected from over 100 community submissions.
The dimensions of the painting are 24" x 30".
[more details]
On The Beach
Geert Maas ( 2002 )
Five cast bronze sunbathers are assembled in a family grouping. Note the different patinas used for skin, clothing and hair.
Kelowna sculptor Geert Maas has spent many years exploring the 'beach' theme in various media, drawing inspiration from the time he and his family have spent at local beaches.
“My art often deals with relationships. People behave differently alone than together. The physical placing and spacing of the various figures determines the emotional content of the work”. Geert Maas
The figures were first created in stoneware clay. Plaster molds were then made in several sections, before the creation of wax positives. Using the “lost wax” method (whereby the wax is “lost” during casting) the figures were finally cast in bronze at a local foundry. The five figures weigh about 450 lbs. in total. The bronze is embellished with multiple patinas. The artist brushed on the chemical M20 for the bathing suits and hair; to achieve the skin tones he used a combined solution of sulfurated potash, ferric nitrate and ammonium sulfide.
The artist designed a curved 64-square-foot base to complement the well-rounded “On the Beach” figures.
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Geert Maas ( 2002 )
Five cast bronze sunbathers are assembled in a family grouping. Note the different patinas used for skin, clothing and hair.
Kelowna sculptor Geert Maas has spent many years exploring the 'beach' theme in various media, drawing inspiration from the time he and his family have spent at local beaches.
“My art often deals with relationships. People behave differently alone than together. The physical placing and spacing of the various figures determines the emotional content of the work”. Geert Maas
The figures were first created in stoneware clay. Plaster molds were then made in several sections, before the creation of wax positives. Using the “lost wax” method (whereby the wax is “lost” during casting) the figures were finally cast in bronze at a local foundry. The five figures weigh about 450 lbs. in total. The bronze is embellished with multiple patinas. The artist brushed on the chemical M20 for the bathing suits and hair; to achieve the skin tones he used a combined solution of sulfurated potash, ferric nitrate and ammonium sulfide.
The artist designed a curved 64-square-foot base to complement the well-rounded “On the Beach” figures.
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Peopled Place - Part Two
Byron Johnston ( 2000 )
A brightly coloured entrance archway welcomes visitors to the Square and leads to a stainless steel tower filled with artifacts and implements chronicling the Okanagan's agricultural and industrial past.
Kinetic elements, a stainless steel flag and a stainless steel ball, adorn the top of each piece piquing curiosity; the sculptures themselves encourage social interaction and self-reflection as viewers ponder their own past.
The tower in the centre of the square is over 12 feet high and constructed of ¼” stainless steel. Incorporating a variety of historic implements, the piece chronicles an earlier era in the Okanagan.
The brightly coloured entrance archway is constructed of 4” x 6” aluminum tubing reaching over 17 feet high; symmetrically stacked balls represent recreation and play, laughter and joy, welcoming visitors to the small urban square.
Construction of the sculpture took several months. Johnston first collected implements from various farmers and orchardists throughout the valley, then welded them within the stainless steel frame.
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Byron Johnston ( 2000 )
A brightly coloured entrance archway welcomes visitors to the Square and leads to a stainless steel tower filled with artifacts and implements chronicling the Okanagan's agricultural and industrial past.
Kinetic elements, a stainless steel flag and a stainless steel ball, adorn the top of each piece piquing curiosity; the sculptures themselves encourage social interaction and self-reflection as viewers ponder their own past.
The tower in the centre of the square is over 12 feet high and constructed of ¼” stainless steel. Incorporating a variety of historic implements, the piece chronicles an earlier era in the Okanagan.
The brightly coloured entrance archway is constructed of 4” x 6” aluminum tubing reaching over 17 feet high; symmetrically stacked balls represent recreation and play, laughter and joy, welcoming visitors to the small urban square.
Construction of the sculpture took several months. Johnston first collected implements from various farmers and orchardists throughout the valley, then welded them within the stainless steel frame.
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Reach For The Stars
Lead Organization: Kelowna Community Policing Association, via Graffiti Eradication & Prevention ProgramProject Artist: Scott Tobin, with assistance from the students of Springvalley Middle School and CHOICES program studentsProject Coordinator: Colleen Cornock ( 2007 )
Kelowna's largest mural is approximately 50m wide and 8m high, covering the entire back wall of a commercial building facing the schoolyard at Springvalley Middle School.
The mural, based on ideas from Springvalley students and brought to life by urban artist Scott Tobin with assistance from the school's CHOICES program students, is a unique combination of hip-hop style lettering, bold colours, beautifully detailed flowers and a purple roadster full of blissful blue bunnies.
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Lead Organization: Kelowna Community Policing Association, via Graffiti Eradication & Prevention ProgramProject Artist: Scott Tobin, with assistance from the students of Springvalley Middle School and CHOICES program studentsProject Coordinator: Colleen Cornock ( 2007 )
Kelowna's largest mural is approximately 50m wide and 8m high, covering the entire back wall of a commercial building facing the schoolyard at Springvalley Middle School.
The mural, based on ideas from Springvalley students and brought to life by urban artist Scott Tobin with assistance from the school's CHOICES program students, is a unique combination of hip-hop style lettering, bold colours, beautifully detailed flowers and a purple roadster full of blissful blue bunnies.
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Renaissance of a Tree
Peter Ryan ( 1999 )
The base of this sculpture is carved from the remains of a huge cottonwood tree, felled during a major windstorm in 1997. It symbolizes, in part, the return of the Peregrine Falcon to Okanagan skies after a 40 year absence.
The original cottonwood base was approximately 4 feet in diameter at its widest point.
Major restoration of the sculpture was undertaken in 2007 to replace the deteriorating cottonwood base with a new wood base, carved by Pete Ryan, the original artist.
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Peter Ryan ( 1999 )
The base of this sculpture is carved from the remains of a huge cottonwood tree, felled during a major windstorm in 1997. It symbolizes, in part, the return of the Peregrine Falcon to Okanagan skies after a 40 year absence.
The original cottonwood base was approximately 4 feet in diameter at its widest point.
Major restoration of the sculpture was undertaken in 2007 to replace the deteriorating cottonwood base with a new wood base, carved by Pete Ryan, the original artist.
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Rhapsody
Robert Dow Reid ( 1993 )
Monumental fiberglass dolphins play in a large fountain. This sculpture and plaza was a joint project between the developer of the Grand Okanagan Hotel and the City.
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Robert Dow Reid ( 1993 )
Monumental fiberglass dolphins play in a large fountain. This sculpture and plaza was a joint project between the developer of the Grand Okanagan Hotel and the City.
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Run
Richard Watts ( 2006 )
This series of three steel 'vessels' evokes a connection between human movement through water and the aquatic life cycle by referring both to the iconographic form of the canoe, and the archeological remains of a mythical fish.
Each of the sculptures is made of rolled steel and mounted on boulders. Each piece is different in form and orientation. The scale is about the same size as a real canoe, approximately 14 feet in length.
The sculptures are placed in three separate locations:
1 - on the south side of Mission Creek near Michaelbrook Marsh;
2 - upstream of the Viewing Platform, between Casorso and KLO Road;
3 – upstream of location 2, at ‘Laura’s Bench.’
In the words of the artist, Richard Watts, 'The title of the work refers to a salmon run, as well as the joggers that use the park. It also references our culture's pace of life: too often we run through life, not walk. Art should be arresting, and lead someone who is running to stop and have a different kind of experience.'
More specifically, the artist comments, 'The installation uses the metaphor of movement along a river as symbolic of movement through life and through time. It connects the movement of people with the migration patterns of fish and aquatic animals. These sculptures are no longer canoes, but become strange and new bodies: they are boats, they are us, they are fish, they are whales. These bodies are archaeological, positioned along Mission Creek like skeletal relics of creatures uncovered by the receding waters. As such they go back in time and project into the future.'
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Richard Watts ( 2006 )
This series of three steel 'vessels' evokes a connection between human movement through water and the aquatic life cycle by referring both to the iconographic form of the canoe, and the archeological remains of a mythical fish.
Each of the sculptures is made of rolled steel and mounted on boulders. Each piece is different in form and orientation. The scale is about the same size as a real canoe, approximately 14 feet in length.
The sculptures are placed in three separate locations:
1 - on the south side of Mission Creek near Michaelbrook Marsh;
2 - upstream of the Viewing Platform, between Casorso and KLO Road;
3 – upstream of location 2, at ‘Laura’s Bench.’
In the words of the artist, Richard Watts, 'The title of the work refers to a salmon run, as well as the joggers that use the park. It also references our culture's pace of life: too often we run through life, not walk. Art should be arresting, and lead someone who is running to stop and have a different kind of experience.'
More specifically, the artist comments, 'The installation uses the metaphor of movement along a river as symbolic of movement through life and through time. It connects the movement of people with the migration patterns of fish and aquatic animals. These sculptures are no longer canoes, but become strange and new bodies: they are boats, they are us, they are fish, they are whales. These bodies are archaeological, positioned along Mission Creek like skeletal relics of creatures uncovered by the receding waters. As such they go back in time and project into the future.'
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Running Man
Marion Lea Jamieson ( 2002 )
Three laser-cut steel business men, interlocked in running motion, carry resin-cast briefcases full of bits, baubles and trinkets contributed by the community. Created during the Okanagan Thompson International Sculpture Symposium.
The etched designs of another running man circle round the plith, the columnar base of the piece. Similar in form to depictions of the runners of ancient Greece, they were created with a computer to achieve absolute precision on a steel sheet that was then wrapped around the eight foot high pedestal.
The briefcases carried by each “running man” are cast resin and hold within their clear casing different bits and pieces such as beads, buttons and imitation coins.
“It’s a critique about our natural inclination to want things, and how wealth is the measure of our worth.” - Marion Jamieson
Surrounding the base of the sculpture are nine colourful mosaic stepping stones created with pieces of tile.
Running Man was selected to stand at the Queensway Transit Station to remind all passing pedestrians and commuters how rushed we tend to be in our lives, focused on wants and achievements, rather than on the enjoyment of each day.
“The Running Man paradigm is the competitive idea that we are in a win-lose race with one another, rather than that we can work as individuals, communities and nations. I hope we can slow down and think about our lives.”
The theme of the running man has been used by the artist in a variety of different art works throughout her career.
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Marion Lea Jamieson ( 2002 )
Three laser-cut steel business men, interlocked in running motion, carry resin-cast briefcases full of bits, baubles and trinkets contributed by the community. Created during the Okanagan Thompson International Sculpture Symposium.
The etched designs of another running man circle round the plith, the columnar base of the piece. Similar in form to depictions of the runners of ancient Greece, they were created with a computer to achieve absolute precision on a steel sheet that was then wrapped around the eight foot high pedestal.
The briefcases carried by each “running man” are cast resin and hold within their clear casing different bits and pieces such as beads, buttons and imitation coins.
“It’s a critique about our natural inclination to want things, and how wealth is the measure of our worth.” - Marion Jamieson
Surrounding the base of the sculpture are nine colourful mosaic stepping stones created with pieces of tile.
Running Man was selected to stand at the Queensway Transit Station to remind all passing pedestrians and commuters how rushed we tend to be in our lives, focused on wants and achievements, rather than on the enjoyment of each day.
“The Running Man paradigm is the competitive idea that we are in a win-lose race with one another, rather than that we can work as individuals, communities and nations. I hope we can slow down and think about our lives.”
The theme of the running man has been used by the artist in a variety of different art works throughout her career.
[more details]
Sentinel
Dawn MacNutt ( 2002 )
This work, originally created in woven vines and branches and then cast in bronze, is inspired by totemic female figures known as caryatids, invoked for their wisdom and protection. Created during the Okanagan Thompson International Sculpture Symposium.
Intricately woven, the piece was first created in local willow branches that had been soaked in water for hours to create flexibility. The twelve foot willow sections were then entwined with cuttings from apple, cherry, plum and grapevine plants to create a form that suggests a gentle female presence, a theme which frequently appears in MacNutt's work.
The shaped piece was then encased and fired in layers of ceramic. During this process the natural materials burn away.
“It’s a lost piece,” MacNutt explains, “because the original is destroyed to create the final work“.
Molten bronze was poured into the hollowed shape left behind by the burned wood, and the ceramic shell broken away to reveal the bronze piece beneath. Since this process is only possible with small pieces, the willow had to be cut apart, recreated in bronze and welded together to once again form the final piece.
Sentinel is inspired by the human form, and resembles totem figures or caryatids – sculpted female figures used as columns in ancient Greek architecture.
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Dawn MacNutt ( 2002 )
This work, originally created in woven vines and branches and then cast in bronze, is inspired by totemic female figures known as caryatids, invoked for their wisdom and protection. Created during the Okanagan Thompson International Sculpture Symposium.
Intricately woven, the piece was first created in local willow branches that had been soaked in water for hours to create flexibility. The twelve foot willow sections were then entwined with cuttings from apple, cherry, plum and grapevine plants to create a form that suggests a gentle female presence, a theme which frequently appears in MacNutt's work.
The shaped piece was then encased and fired in layers of ceramic. During this process the natural materials burn away.
“It’s a lost piece,” MacNutt explains, “because the original is destroyed to create the final work“.
Molten bronze was poured into the hollowed shape left behind by the burned wood, and the ceramic shell broken away to reveal the bronze piece beneath. Since this process is only possible with small pieces, the willow had to be cut apart, recreated in bronze and welded together to once again form the final piece.
Sentinel is inspired by the human form, and resembles totem figures or caryatids – sculpted female figures used as columns in ancient Greek architecture.
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Seth Benjamin
Ken Curley ( 1998 )
This limited edition bronze sculpture celebrates the joy and hope of childhood and was donated to the Cancer Lodge by a local philanthropist. The dual name recognizes Benjamin, the sculptor's model, and Seth, the donor's grandson.
This sculpture is made in a limited edition of 27. The dimensions are approximately 56"H x 24"W x 20"L.
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Ken Curley ( 1998 )
This limited edition bronze sculpture celebrates the joy and hope of childhood and was donated to the Cancer Lodge by a local philanthropist. The dual name recognizes Benjamin, the sculptor's model, and Seth, the donor's grandson.
This sculpture is made in a limited edition of 27. The dimensions are approximately 56"H x 24"W x 20"L.
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Skagway
Robert Murray ( 1976-1977 )
Large, crumpled planes of enamel-painted aluminum plate suggest the monumental landscapes of the work's Alaskan namesake. This sculpture was donated to the Kelowna Art Gallery by renowned Canadian artist Toni Onley.
This sculpture, like many of Murray's works, was fabricated at Lippincott Inc. in North Haven, Connecticut.
Skagway was completed during a mature and industrious period in Murray's long career. Many works from this period were inspired by and named after Alaskan locations which Murray had visited. Skagway was the gateway port for the infamous Gold Rush and is the oldest incorporated city in Alaska.
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Robert Murray ( 1976-1977 )
Large, crumpled planes of enamel-painted aluminum plate suggest the monumental landscapes of the work's Alaskan namesake. This sculpture was donated to the Kelowna Art Gallery by renowned Canadian artist Toni Onley.
This sculpture, like many of Murray's works, was fabricated at Lippincott Inc. in North Haven, Connecticut.
Skagway was completed during a mature and industrious period in Murray's long career. Many works from this period were inspired by and named after Alaskan locations which Murray had visited. Skagway was the gateway port for the infamous Gold Rush and is the oldest incorporated city in Alaska.
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Spirit of Kelowna
Lead Artist: Geert MaasProject Coordinator: Elly MaasContributing artists: 102 residents of Kelowna (see attached document for the list of names) ( 2007/2008 )
104 cast bronze medallions made by Kelowna residents and by Geert and Elly Maas reflect the theme of 'community spirit.' Each medallion is a personal interpretation of the theme by a diverse range of participants, aged 10 and up.
The medallions were created during a series of workshops held at the artist's studio between May and September, 2007. Each participant committed to 3 days of work including building a clay model, pouring a plaster mold, and creating a wax replica of their medallion which was then sent to a local foundry for casting in bronze.
Participants then returned to the studio for the final work of applying patina and polishing.
Each medallion represents between 15-20 hours of work for each participant. Artist Geert Maas and project coordinator Elly Maas provided considerable coordination, guidance and support for participants, many of whom did not have previous experience with this medium.
This impressive array of medallions will eventually be installed on a special wall in the foyer of City Hall.
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Lead Artist: Geert MaasProject Coordinator: Elly MaasContributing artists: 102 residents of Kelowna (see attached document for the list of names) ( 2007/2008 )
104 cast bronze medallions made by Kelowna residents and by Geert and Elly Maas reflect the theme of 'community spirit.' Each medallion is a personal interpretation of the theme by a diverse range of participants, aged 10 and up.
The medallions were created during a series of workshops held at the artist's studio between May and September, 2007. Each participant committed to 3 days of work including building a clay model, pouring a plaster mold, and creating a wax replica of their medallion which was then sent to a local foundry for casting in bronze.
Participants then returned to the studio for the final work of applying patina and polishing.
Each medallion represents between 15-20 hours of work for each participant. Artist Geert Maas and project coordinator Elly Maas provided considerable coordination, guidance and support for participants, many of whom did not have previous experience with this medium.
This impressive array of medallions will eventually be installed on a special wall in the foyer of City Hall.
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Spirit of Sail
Robert Dow Reid ( 1978 )
This iconic fiberglass sculpture by well-known local sculptor, Robert Dow Reid has become a symbol for the city and is prominently featured in many tourism publications.
'Spirit of Sail' (also known locally as 'The Sails') is 12 metres (40 feet) high, and weighs approximately 1820 kilograms (4000 pounds).
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Robert Dow Reid ( 1978 )
This iconic fiberglass sculpture by well-known local sculptor, Robert Dow Reid has become a symbol for the city and is prominently featured in many tourism publications.
'Spirit of Sail' (also known locally as 'The Sails') is 12 metres (40 feet) high, and weighs approximately 1820 kilograms (4000 pounds).
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Stones Pear Grove
Craig Sibley ( 2005 )
Grass mounds in the shape of a 'yin-yang' symbol are bisected by a dry creek bed and encircled by flowering pear trees. A flagstone pathway leads to and away from a small, red, Asian-inspired bridge which crosses the creek bed. The words inscribed on the bridge deck planks lend a contemplative, spiritual voice. This installation pays homage to the site's past as an orchard operated by the Tamagi family and also to the park's namesake, Ben Lee.
This earthwork or environmental installation is unique in the City's public art collection. In the words of the artist, 'When a person or family belongs to a community their sense of themselves becomes more secure. Strong communities build unity, acceptance, fortitude and peace. They provide refuge, security, well being and sanctuary. They foster imagination, learning and playtime and allow for creative risk taking. I want to build a sculptural work that reflects and pays tribute to the area's strong sense of community...'
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Craig Sibley ( 2005 )
Grass mounds in the shape of a 'yin-yang' symbol are bisected by a dry creek bed and encircled by flowering pear trees. A flagstone pathway leads to and away from a small, red, Asian-inspired bridge which crosses the creek bed. The words inscribed on the bridge deck planks lend a contemplative, spiritual voice. This installation pays homage to the site's past as an orchard operated by the Tamagi family and also to the park's namesake, Ben Lee.
This earthwork or environmental installation is unique in the City's public art collection. In the words of the artist, 'When a person or family belongs to a community their sense of themselves becomes more secure. Strong communities build unity, acceptance, fortitude and peace. They provide refuge, security, well being and sanctuary. They foster imagination, learning and playtime and allow for creative risk taking. I want to build a sculptural work that reflects and pays tribute to the area's strong sense of community...'
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The Brevity Memorial
John Davidson, Kootenay Monument and Great West Monument ( 2004 )
Organized by The Compassionate Friends as a memorial for children who have predeceased their parents, this installation includes a plaza, memorial walls, dedication monument, landscape features and a life-sized bronze statue of two children standing on a tree stump, symbolizing brevity or a life cut short.
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John Davidson, Kootenay Monument and Great West Monument ( 2004 )
Organized by The Compassionate Friends as a memorial for children who have predeceased their parents, this installation includes a plaza, memorial walls, dedication monument, landscape features and a life-sized bronze statue of two children standing on a tree stump, symbolizing brevity or a life cut short.
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The Working Man
Denis Kleine ( 1989 )
This life-sized bronze sculpture of a working man at rest was funded by Culos Construction. Check out the interesting details such as the toolbox, hardhat, and the gloves in his back pocket.
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Denis Kleine ( 1989 )
This life-sized bronze sculpture of a working man at rest was funded by Culos Construction. Check out the interesting details such as the toolbox, hardhat, and the gloves in his back pocket.
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Time Piece
Alan Storey ( 1980 )
Commissioned by the College while the artist was still a visual arts student here, this commemorative sun dial, shaped like an open book, plays with the movement of light and shadow through the steel 'pages'.
Alan Storey comments on his public art works as follows: 'Part of the philosophy in my approach is that a work of art in the public realm should intrigue and engage a passerby into an exploratory investigation of the content and its relationship to the surrounding site.' (from an article by John K. Grande in the autumn '02 issue of ESPACE Sculpture Magazine, Montreal)
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Alan Storey ( 1980 )
Commissioned by the College while the artist was still a visual arts student here, this commemorative sun dial, shaped like an open book, plays with the movement of light and shadow through the steel 'pages'.
Alan Storey comments on his public art works as follows: 'Part of the philosophy in my approach is that a work of art in the public realm should intrigue and engage a passerby into an exploratory investigation of the content and its relationship to the surrounding site.' (from an article by John K. Grande in the autumn '02 issue of ESPACE Sculpture Magazine, Montreal)
[more details]
Timeline / Waterline
Kirsty and Philip Robbins ( 2003 )
This series of 6 cement sculptures tells the story of one of Kelowna's historic neighbourhoods, now a Heritage Conservation Area. The top of each sculpture features a cast of rippled beach sand and a small bronze artifact, and the side panels contain an encircling timeline and inset historical images.
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Kirsty and Philip Robbins ( 2003 )
This series of 6 cement sculptures tells the story of one of Kelowna's historic neighbourhoods, now a Heritage Conservation Area. The top of each sculpture features a cast of rippled beach sand and a small bronze artifact, and the side panels contain an encircling timeline and inset historical images.
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Toy Amenity
Mowry Baden ( 2005 )
Originally commissioned as a temporary site-specific work in San Francisco, this playful sculpture was later donated by the artist to the Kelowna Art Gallery. The structure is made of various recycled industrial materials. Viewers are encouraged to explore the sculpture's external and internal spaces.
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Mowry Baden ( 2005 )
Originally commissioned as a temporary site-specific work in San Francisco, this playful sculpture was later donated by the artist to the Kelowna Art Gallery. The structure is made of various recycled industrial materials. Viewers are encouraged to explore the sculpture's external and internal spaces.
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Treescape
Denis Kleine ( 1991 )
Dolomite marble forms evoke the spirit of the forest and provide an artistic setting for patrons of a corner coffee shop.
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Denis Kleine ( 1991 )
Dolomite marble forms evoke the spirit of the forest and provide an artistic setting for patrons of a corner coffee shop.
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Untitled
Peter von Tiesenhausen ( 1998 )
A decaying cottonwood log was transfomed by carving and ritual burning into an orb reflecting the artist's interest in environmental issues and the ebb and flow of natural cycles. This organic object will eventually return to the earth.
The work was created on site at the Kelowna Art Gallery during the artist's residency and exhibition (Peter von Tiesenhausen: Lebenslaufe) from February 21 to April 12, 1998.
The cottonwood trunk used for the work was discovered by the artist on a property on KLO Road in Kelowna. The tree had been cut down because, as is common with cottonwood, it had started to decay from the inside out, making it unstable and hazardous.
The artist began his work on the tree at the KLO site, later moving it to the Gallery for the finishing touches. At the opening reception for his exhibition, von Tiesenhausen lit the decaying heart of the wood on fire. The piece still bears the marks of this burning, a technique often used by this artist to minimize or alter his own carving marks. In the artist's words, '...fire is out of control. If the art is losing its structural identity, then I'll do something about it, but if not, then I'll let it go, and as a result, it becomes more interesting.'
'Nature does not deceive, but exposes itself without guile. Conception, birth, life, death and decay are all instrinsic to its cycle. Surrounded by this enigma, in its randomness and its ruthlessness, I am forever amazed at the balance I encounter.' (Peter von Tiesenhausen)
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Peter von Tiesenhausen ( 1998 )
A decaying cottonwood log was transfomed by carving and ritual burning into an orb reflecting the artist's interest in environmental issues and the ebb and flow of natural cycles. This organic object will eventually return to the earth.
The work was created on site at the Kelowna Art Gallery during the artist's residency and exhibition (Peter von Tiesenhausen: Lebenslaufe) from February 21 to April 12, 1998.
The cottonwood trunk used for the work was discovered by the artist on a property on KLO Road in Kelowna. The tree had been cut down because, as is common with cottonwood, it had started to decay from the inside out, making it unstable and hazardous.
The artist began his work on the tree at the KLO site, later moving it to the Gallery for the finishing touches. At the opening reception for his exhibition, von Tiesenhausen lit the decaying heart of the wood on fire. The piece still bears the marks of this burning, a technique often used by this artist to minimize or alter his own carving marks. In the artist's words, '...fire is out of control. If the art is losing its structural identity, then I'll do something about it, but if not, then I'll let it go, and as a result, it becomes more interesting.'
'Nature does not deceive, but exposes itself without guile. Conception, birth, life, death and decay are all instrinsic to its cycle. Surrounded by this enigma, in its randomness and its ruthlessness, I am forever amazed at the balance I encounter.' (Peter von Tiesenhausen)
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W.A.C. Bennett Memorial Courtyard
Hartley & Turik Architects and Neon Products ( 1981 )
William Andrew Cecil Bennett, a Kelowna resident, was British Columbia's longest-serving premier. The 20 spires on the tower represent Bennett's 20 years as premier, and 7 steps on either side of the clock represent the number of his terms in office.
Other features of the courtyard include a four-faced 35 foot high carillon clock which still chimes daily (the face of the clock is approximately 6 feet in diameter), a two-level pool and planter boxes.
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Hartley & Turik Architects and Neon Products ( 1981 )
William Andrew Cecil Bennett, a Kelowna resident, was British Columbia's longest-serving premier. The 20 spires on the tower represent Bennett's 20 years as premier, and 7 steps on either side of the clock represent the number of his terms in office.
Other features of the courtyard include a four-faced 35 foot high carillon clock which still chimes daily (the face of the clock is approximately 6 feet in diameter), a two-level pool and planter boxes.
[more details]
Wayfinding Directional Signage
David James Pacholko ( 2003 )
Colorful graphics, themed to their location, curve across the top of wayfinding signage and information kiosks throughout the downtown area and the Cultural District.
Information kiosks are located at:
At the intersection of Water St. and Lawrence Ave.
Foot of Bernard Ave. adjacent to the Sails
At the intersection of Pandosy St. and Queensway Ave.
Adjacent to the Main Library off Ellis St.
Adjacent to the Water St. Boat Launch
On Cawston Ave. between the Rotary Centre for the Arts and the Kelowna Art Gallery
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David James Pacholko ( 2003 )
Colorful graphics, themed to their location, curve across the top of wayfinding signage and information kiosks throughout the downtown area and the Cultural District.
Information kiosks are located at:
At the intersection of Water St. and Lawrence Ave.
Foot of Bernard Ave. adjacent to the Sails
At the intersection of Pandosy St. and Queensway Ave.
Adjacent to the Main Library off Ellis St.
Adjacent to the Water St. Boat Launch
On Cawston Ave. between the Rotary Centre for the Arts and the Kelowna Art Gallery
[more details]