Like the granite erratic boulders that dot the northern hardwood forests of New England, this Taoist balance wends its way through the art and nature at Bedrock.
Alternatively, most of the works of art at Bedrock are crafted and welded together by human hands (and tools) from metal to be permanent fixtures: They are individual pieces that are one-of-a-kind (and quite incapable of reproducing themselves).
Another yin: Much of her art is made from a local and abundant resource that has deep ties with this land: discarded and forgotten
Jill picked up the pieces of this sculpture in a metal junkyard years ago, attracted to their unusual silhouettes. “Somehow, I happened to store them together,” she explains, “and they got friendly and became a family.” Jill’s input was a beard, made a street sweeper brush; rings around the eyes for emphasis; and the base.
Lastly, sculpture lends a meditative balance to the large sweeps of land at Bedrock. Where the gardens are designed on several axes with long site lines (think the Straight and Narrow, the Allée, and Grass Acre), they are interspersed with sculptural focal points that make visitors pause and absorb what is immediately in front of them.
Jill and Bob vacationed on Whidbey Island in Washington, where they were met by her son Spencer and his then-girlfriend (now wife), Ali. “We all took a walk on the driftwood-strewn beach, and Ali picked this piece up,” says Jill. She envied it so much that Ali gave it to her. “We bought a big roll of bubble wrap and packing tape, bundled it up, and shipped it on the plane home with us.” He Who Shall Not Be Named now is ensconced dramatically in The Dark Woods among its equally eerie companions.
Or, says Jill (a bit more succinctly), “The more you look, the more you see.”
The inter-dependency comes here: The works of art enhance their surroundings, but how much richer are they because of their natural setting? (Would each have as much resonance alone in a gallery?)
In the Digging Deeper post, “Spirit Beings,” from last September, I made mention of the more than 250 works of art installed on Bedrock’s grounds, and discussed the stories and meanings behind just five of them. Here then, are the motivations behind three more. Stick with me...we’ve only got 240-plus more to go!
“Sleight of Hand”
Like David Blaine, this embodiment of an illusion stands on a garden corner and attracts passing strangers. “It invokes that coin magic trick, along with the one where the coin moves through the fingers one by one,” explains Jill.
The “fingers” are made out of leaf springs (used for suspension in wheeled vehicles), while the “coins” are lifting weights.