 A Prospersous Past, A Bright Future by Gary Alsum and the National Sculptors' Guild, placed at Bridge and Cabbage Brighton, CO “A Prosperous Past, a Bright Future” by Fellow Gary Alsum and the National Sculptors' Guild was placed in Brighton, at Bridge St and Cabbage Ave, commissioned through the city of Brighton, Colorado. The public artwork features two sculptural elements. The first element speaks to Brighton’s rich history and sense of family. The piece depicts a father, mother and young daughter. The father’s occupation is vague so that the viewer could see him as a farmer, a miner or any profession that made Brighton what it is today. On the ground next to the mother’s foot is a basket of vegetables, a nod to Brighton’s agricultural past and future. The second element connects to the city’s current boom and its continued success in the future. This sculpture depicts a young boy, playing with a train and a toy airplane. The train is symbolic of Brighton’s past. The airplane is symbolic of Brighton’s steady economic growth as a result of its proximity to DIA. Gary states that “The challenge of sculpture is depicting the movement and energy of a single moment.” Placing a great deal of focus on movement and grace, Gary’s sculptures pass on the freedom, joy and curiosity that children display on a daily basis. NSG Public Art Placement #287
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 Galileo stares up into the sky...Wonder what he’s thinking. The National Sculptors' Guild has worked with the City of Brighton to place a number of bronze sculptures by Fellow Jane DeDecker at the entrance of the Recreation Center on 11th Avenue, Brighton, Colorado. The pieces each speak to discovery and play, depicting youth actively interacting with nature. Jane states... “My work is a cumulative process made of my life experiences and my desire to sculpt the human form. Each piece tells a story of how it was created - every stroke supporting the narrative.” Part of Jane’s artistic genius is her ability to select a moment to which all of us can relate on a personal level. These moments span all generations, depicting a universally recognized scene. This scene may speak of the love between parent and child, the freedom of a child’s imagination or the simple dignity of everyday tasks. Each is a timeless expression of the human experience, causing us to reflect and evaluate the importance of love, relationships and achievement. - John Kinkade, Executive Director of the National Sculptors' Guild NSG Public Art Placement #213 Galileo, Lords of the Forest, Ears of Joy and Leaves of Grass  "Lords of the Forest" As in many of Jane DeDecker’s pieces with children, a prop is used. In this case, it is a log! This sculpture speaks to activity and good health.  Ears of Joy was named after a story about this boy and his dog. The story won a Pulitzer Prize.  This is one of Jane’s newest sculptures. The clump of grass holds all kinds of secrets. There is a garter snake, a butterfly, worm, caterpillar, bug and more!  Courage to Lead at Brighton's City Hall Courage to Lead by Denny Haskew and the National Sculptors' Guild was placed in front of Brighton, Colorado's City Hall. This one and a quarter life-size bronze sculpture was introduced in May of 1993 and won the Western Regional Show, Cheyenne, WY, the People’s Choice Award at Hillside Sculpture Invitational, and the Sculpture Award at the Red Earth Invitational Art Show. In the creation of this artwork, Denny drew upon historical research after being told stories about the Society of the Sacred Arrow. This Society existed among many of the Plains Indian tribes. Among other tribes, the Crow, the Arapaho and the Cheyenne were known to perform the Sacred Arrow Ceremony. The night prior to a raiding party, war party or some equally important event, the tribe would gather around the pow wow circle with much chanting and singing. The members of the Society of the Sacred Arrow would rush out into the center of the ring and collectively shoot arrows straight into the sky. Then with a show of bravery and courage, they would stand still as the falling shafts came back to earth. Each member was unafraid because of his strong belief in his spiritual protection. Their courage and conviction showed that their cause was right and that God was with them. This was a great morale boost to the tribe members in attaining success on the next day’s venture. This display of courage by the members of the Sacred Arrow Society often placed them in the role as leaders of other warriors.It is placed upon Dakota Sandstone taken from the foothills. The sandstone used was created 70 million years ago. Dakota Sandstone occasionally appears on the plains in jutting outcroppings and bluffs. Plain’s Native Americans used it for structural purposes in religious dwellings. The design team of NSG Fellow Haskew and JK Designs Principal Kinkade has stacked 20 tons of this stone to create the suggestion of such an outcropping. The vertical stone holds a bronze plaque of explanation and commemoration.  Denny Haskew is a Charter Member of the National Sculptors' Guild and one of Loveland's best known artists with his sculptures installed throughout the United States including Alaska, California, Arizona, Colorado, Utah, New Mexico, Oklahoma, Texas, Wyoming, South Dakota, New York, Michigan, Virginia, South Carolina, Illinois and Kentucky. For many years, Haskew maintains a Loveland home-based studio.
Haskew was born in Aurora and went to junior high and high school in Salt Lake City, Utah. He completed a bachelor's degree in business administration at the University of Utah. Haskew spent much of his early career as a ski instructor at Park City, Utah and was involved in developing ski touring trails in Idaho. He was also a white water river guide in the Grand Canyon. He did carpentry work and made furniture on the side.The talent and desire to become an artist goes back to Haskew's childhood when he carved decoys out of firewood for his father. He then tried his hand at carving shore birds. His parents moved to Loveland, and Haskew became interested in meeting one of the local artists. His introduction to Fritz White changed his life, and he knew he wanted a career as an artist. He asked White how to get started, and White said, "The old fashion way -- as an apprentice." Haskew quickly asked if he could become White's apprentice and to that, White responded, "I was afraid you would say that." White was a taskmaster often tearing apart what Haskew had started. However despite critical setbacks, Haskew sold his first piece while working for White. After a year, Haskew set up his own studio. With just four pieces, he was accepted into "Sculpture in the Park" held annually in the Benson Park Sculpture Garden. “I begin with the human figure. Initially, I have no intention of creating an ‘Indian image’, but sometimes the statement comes out stronger that way. Sometimes the opposite is true. Recently, I started to sculpt a Native figure, but it became something else. We’re all human beings inside. We’re all a mixture and will continue to mix until it no longer matters what type of figure is used as long as it makes the strongest statement possible.” see more of Haskew's work here. NSG Public Art Placement #133  Touch the Sky by Jane DeDecker and the National Sculptors' Guild Touch the Sky by Fellow Jane DeDecker and the National Sculptors' Guild was placed through a public art call at 525 E. Bridge Street, Brighton, Colorado. This bronze sculpture of four children playing on and around a large tree stump was created in 1997. It was conceived to meet the need of a sculpture with children that had enough o fa presence to be placed in a large park and not seem dwarfed by the surroundings. The artist effectively solved this problem by using a large tree stump as a prop. This prop gives the sculpture enough mass to hold its own in the great outdoors. The children on the stump represent a number of emotions that all children have. The girl with hands raised to the sky exudes the exhilaration of the moment. One of the children on the log shows the tentativeness of being on top of the stump. A little boy at the base of the stump is in his own world looking at a bug. In all, the work carries the theme of the circle of life and the many experiences that go with it: from the fallen tree to the children’s exploration of life. The monument is 8’9”H 5’W and5’D. It has been placed at ground level so that children may easily relate to it. Decorative grasses will surround it giving it a naturalized appearance that is appealing year-round. NSG Public Art Placement #138
 "Snapshot" by Jane DeDecker and the National Sculptors' Guild was placed in Oxnard, California in 1995. Snapshot was originally commissioned by Michael Jackson, The multi-figure bronze depicts a number of children ready for the camera, sitting on a bench with a wagon pulled up to one side; the kids are in a casual pose, enjoying a respite from summer play, holding toys and drinking a soda. It even includes the pouting kid in the back - not wanting to be pictured as often happens. The piece is universal even though it was inspired by photos Jackson gave DeDecker. NSG Placement #36  The National Sculptors' Guild placed Fellow Jane DeDecker's "Jungle Gym" in Oxnard, California in 1995. The 125% life-size multi-figurative bronze features five-children at play on a jungle gym, with a dog eager to join in the fun at the laces of one of the kids. The piece is a reminder of simpler days of play in parks and schools. The sculpture measures 11ft tall, 15ft wide, 5ft deep. Purchased by the City of Oxnard, California. NSG public art placement 35
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JK Design/NSGJK Designs’ Principal, John Kinkade, founded the National Sculptors’ Guild in 1992 with a handful of sculptors who wished to find thoughtful public applications for their work. Representation has since grown to over 20 contracted sculptors and painters; plus an extended network of 200+ artists that our design team works with on a regular basis to meet each project's unique needs. click here for a list of our over 500 large-scale placements. Archives
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