2012 exposed

Exposed 2012

July 13 - October 13, 2012
Curated by Rachel Moore

15 Local and international sculptors have installed work along Main Street, the Recreation Path, and on Helen Day Art Center's property.


Local and international sculptors have installed work along Main Street, the Recreation Path, and on Helen Day Art Center's property. Monica Herrera, from Mexico City, was chosen by this year's jury and curator to be the featured artist. She spent two weeks in Stowe installing wind chimes throughout Stowe. She explains her piece, titled Bells:

For centuries bells have been located at the center of public culture, as markers of significance in funerals and weddings, calls to mass and to town hearings, calls to war, and warning about natural disasters. Their sound has had countless meanings across times and places, but their voice has always had the same power to connect people.
The remaining artists in the show are a mix between local (David Stromeyer*, Enosburg Falls), national (Anthony Heinz May, Oregon/NYC), and international (Leonidas Chalepas, Greece) to create a well balance survey of contemporary public sculpture.
Five local and national creative writers have written a collaborative poem, called a renga, under the direction of writer m. pinchuk (San Francisco). This poem is displayed on five storefront windows throughout the town and is thematically specific to summer and fall in Stowe.

Continuing the tradition of parallel events, Exposed will host five performances on Thursday evenings at 6p.m. at Helen Day Art Center. Throughout the duration of the exhibition these events will enliven the show and expose other forms of artwork. This year includes the popular soprano and guitar duet, Gretchen Farrar and Francisco Roldán; Polly Motley, choreographer and dancer; Yajet K.M., performance artist; and a collaborative improvisational dance and piano performance by Robert Grundstein (piano), Hanna Satterlee (dance), Joseph Schine (dance), Marly Spieser-Schneider (dance), and Lida Winfield (performance director). For more information see helenday.com/exposed.
Cellphone audio tours; QR codes; walkabout tours; a full color catalogue with images and descriptions; and a comprehensive map cohesively work to create a more accessible exhibition, engaging the anticipated 75,000 visitors.

Monica Herrera, from Mexico City, was chosen by the 2012 jury and curator to be the featured artist.

5 local and national creative writers have written a collaborative poem in the Japanese 'renga', under the direction of writer m. pinchuk (San Francisco).

2012 Exhibition artists

Angelo Arnold
Scott Boyd
Theodore Ceraldi
Leonidas Chalepas
Christopher Curtis
Jessica DiClerico & Oliver Schemm
Hannah Givler & Heather Mullins
Monica Herrera
Anthony May
Shannon D. Schmidt
Jiwan Noah Singh
Ed Smith
David Stromeyer
Tyler Vendituoli
Ceres Zabel


David Budbill
Julia Shipley
Amy Kolb Noyes
Caroline Tavelli-Abar
Shannon Schmidt
m. pinchuk, Renga curator

Angelo Arnold

Through the comfortable format of furniture, I present concepts of metamorphosis, change and subversion of the self. I create custom works that embrace change and present possibilities for adaptation to new, unfamiliar environments and situations.

These metamorphic forms deconstruct the functional object to establish a foundation or platform to recall memories, stories and uncanny events. Through my reconstructed objects, I reference a vocabulary of furniture. The removal of the functional aspects of the forms subverts the viewer’s expectations and provokes new interpretations. The objects are made from wood and steel armatures, and are then upholstered.

I have used the site in Stowe to establish an imagined environment of familiar objects that have been created with an unfamiliar twist.

Angelo Arnold's website

Scott Boyd

Six Permutations consists of six origami-shaped components, roughly 3.25’ x 4’x 3’ in size, made of welded steel plate painted white, and steel pipe painted a honey-wheat yellow. The components are arrayed over an area of about 15’ x 20’.

From different perspectives, my sculpture offers the idea of permutation: permutations that engage the viewer’s consideration of what the viewer’s role is
in determining visual experience, and how that experience may relate to one’s understanding of art.

Permutations reflect the fundamental changes that occur when objects are rearranged. They can also reflect the form or variety resulting from such rearrangement.

Scott Boyd's website

Theodore Ceraldi

The idea of Kiss has been, in one form or another, the impetus for many paintings and sculptures. Kiss is constructive and subtractive, supporting a narrative that is figurative and geometric. The piece moves from a dance of two shells to the singularity of an implied sphere. The kiss of the two forms may or may not be consummated, inviting the viewer to decide.

Theodore Ceraldi's website


Leonidas Chalepas

Cosmic Detritus is the final stage of a series of mold-makings of gradual accumulations of garbage and clay. The process culminated in a wax form, which was cast in bronze.

This piece is a gathering of objects. There was no specific initial idea except for my belief in the power of intuition and the process of sculpture. My first move was to pick up randomly a few objects from the trash bin.

Cosmic Detritus might resemble a spacecraft, or a bomb, or a squash. To me, it resembles detritus produced by a cosmic explosion that fossilized and became metallic, travelled in space like a meteorite, and finally landed somewhere.

Leonidas Chalepas' website

Christopher Curtis

Christopher Curtis' websiteThe disk: all of humanity has apprehended the sun – the mother of all disks – and daughter moon. With every conversation we see the disks of iris and pupil returning our gaze. Prevalent in nature, the circle is the most basic, widespread and timeless of archetypes.

Van Gogh wrote, “Life is probably round.” Gaston Bachelard was more succinct, stating simply, “Being is round.”

Christopher Curtis' website

Jessica DiClerico & Oliver Schemm

The God Box is an interactive sculptural structure covered outside and inside with objects of uncertain and mysterious origins. In the interior space, the viewer can perch on a small seat and inspect all of the items. Its essential theme is the idea of a place of contemplation. There are many inspirations for the project, such as Dr. Who’s Tardis, a guard box, a phone booth, an ice-fishing house, a rocket, an outhouse, a confessional, and the grandfather’s “office” in Chitty Chitty, Bang Bang. The interaction between the exterior and interior spaces, and the transition between the two, creates energy and tension that both attracts and intrigues.

Oliver Schemm's website

Hannah Givler & Heather Mullins

Collaborators Heather and Hannah regularly discover overlapping insights and interests relative to their experiences in East Africa. For their installation, the artists explore the function and metaphor of a space woven out of a fire-hose in the shape of a baobab seedpod. With fireproof bark used for creating rope and cloth, a trunk that stores water in times of drought, and hanging fruit full of nutritional and decorative value, the East African baobab tree is truly multifunctional, exemplifying the resourcefulness both artists encountered in East Africa.

Hannah Givler's website | Heather Mullins' website


Monica Herrera

For centuries bells have been located at the center of public culture, as markers of significance in funerals and weddings, calls to mass and to town hearings, calls to war, and warning about natural disasters. Their sound has had countless meanings across times and places, but their voice has always had the same power to connect people.

Yet at some point the public significance of bells started waning. The growth of modern cities created so many new sounds that bells became one among many “noises” or, as Coleridge put it, “the poor man’s only music.”

With this site-specific installation I want not only to evoke, but also to reclaim, some of the public connectedness of the world that bells created.

Monica Herrera's website

Anthony Heinz May

My appropriations of nature develop through assemblages that pixelate nature in real space and time. Using a pattern, trees and their appendages are grafted together in order to present technologically influenced, digitized systems. The collages are three-dimensional transformations that assimilate the organization found in the two-dimensional grid of a digital image. As the anthropomorphic quality of nature is deconstructed and rearranged, it develops new physical compositions that express nostalgia for the original form. This process of deconstruction makes a metaphoric comparison between the real and the artificial, as shown through a mechanized lens. My artistic investigations instigate a puzzle-like game encouraging rhizomatic dialogues between nature and technology.

Shannon D. Schmidt

'a line of sun 9, 12, 3, 6' explores the temporal nature of the seasons, marking moments when the sun casts shadows in space and time. By exploring aspects of craft, drawing and time-arts, a line of sun unites disparate elements, creating a site-specific installation based on the ephemeral existences of light and shadow. Created from wool, mohair, seeds and grass, the soft sculptures incorporate aspects of landscape into the material components of the work. These felted sculptures create diurnal documents – drawings of shadows cast by trees as the sun draws its arc in the sky.

Shannon D. Schmidt's website

Jiwan Noah Singh

The Ark is an exploration of familiar forms and structures stripped down to their most basic elements of construction. Borrowing heavily from craft-based functional construction media, including classical boatbuilding and shelter building, the series creates abstract, curved shapes from rigid materials. This metamorphosis is achieved by shunning typical techniques for bending and shaping raw materials and instead relying on optical illusion and mathematical theory, such as three-dimensional graphing and the use of hyperbolic planes. The Ark evokes the form’s functionality without being functional itself; it utilizes the materials but deprives them of the craft that transforms them into an impenetrable barrier.

Jiwan Noah Singh's website

Ed Smith

Marsyas was a satyr, part-man, part-beast. He challenged the god of truth and light, Apollo, to a contest: the flute versus the lyre. Marsyas lost and as punishment for his foolish overconfidence in challenging the god, he was flayed alive.

The competition, the agon, in this story is a recurrent theme not only in ancient Greek life and literature but also in the life of the Artist. We challenge the gods and always fall short. Let us relish the challenge and struggle, and not indulge in hubris.

The joy is in the music of the song of life.

Ed Smith's website

David Stromeyer

(for # 384 Swingin’ Easy)

Last summer I started a series of sculptures comprising planes of steel that give the illusion of being twisted. In reality, the 5/8” plates are created using forms that are custom-made in my 150-ton hydraulic press. Swingin’ Easy is the third work to come out of this series. More are planned. The first two are on exhibit in Burlington City Park in Vermont.

(for # 385 Hi De Ho Man)
This is the second sculpture that I have clad in hand-broken Italian porcelain tiles. It is fun to see how the work’s geometry can either be reinforced or dematerialized by the way the colors and shapes are handled.

David Stromeyer's website

Tyler Vendituoli

If a mountain town were to be represented musically, it would be a jazz quartet led by a double bass. Lively, funky, but with an air of sophistication around its edges, the bass pulls out a groove that everyone happily falls into.

Double-Up was inspired by a single piece of metal, found in an abandoned house in the Bahamas. From this humble start, it will now provide a rhythm to the natural music of summer, of wind through the grass, birds in the trees, and pedestrians passing by.

Ceres Zabel

This work grows from the artist’s continued investigation of mankind’s perception as it relates to the global community, the celestial community, and the creative conscience of the universe. Where are we in the evolution of ourselves?

In Nea Yis, a new earth is emerging only as the outer shell cracks open. The tiles suggest earth’s geographic features: continents, tectonic plates and ice melt. Their direction displays the dynamic movement of ocean and air currents – energy forces that play a subliminal part in directing the choices we make every day. In this way, earth is internal to us…it is part of our very being.


Event artists

Gretchen Farrar - Soprano
Robert Grundstein - Piano
Marly Spieser-Schneider - Dance
Yajet Maher - Performance
Francisco Roldán - Guitar
Hanna Satterlee - Dance
Lida Winfield - Dance
Polly Motley - Choreography


Steve & Mary Jean Beimdieck
Gail & Seteven Blumsack
Peter & Brenda Christie
Frank & Elaine Ittleman
Lance Violette Design


Frank J. Motter Construction
Dave Couch Signs


Paul & Laura Biron
Idoline & Biddle Duke
Scott & Sandra Noble
Irwin & Sara Tauben
Town & Country



Exhibition Sponsors




Education Sponsors



     Media Partners