This sculpture powerfully embodies Macon’s complex history through its materials and form. The combination of weathered Corten steel and recycled bricks creates a dialogue between strength and transformation. The brick wall, breaking apart and taking flight, symbolizes Macon’s struggle with segregation and division. These bricks—materials deeply connected to Macon’s industrial history and architectural identity—represent the literal and figurative walls that once separated communities. The clay that formed these bricks came from the same earth all residents walked upon, yet the structures built from them often served to divide rather than unite. The rusted steel elements pushing through and reshaping the brick wall evoke the painful but necessary process of confronting entrenched systems of inequality. Just as the steel appears to bend and transform the rigid brickwork, so too has Macon’s community worked to bend the arc of its history toward justice and inclusion.
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2025-07-17 16:21:162025-07-17 16:21:18Even Walls Can Move
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2025-03-20 16:37:442025-03-20 16:53:51Even Walls Can Move: forthcoming public sculpture for Bicentennial Park, Macon, GA
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2024-08-06 20:06:052025-03-20 16:47:47The Art and Beauty of Sailing on Display at Emery Cove Marina
Located at the Emery Cove Yacht Harbor in Emeryville, CA
Wind and Stone activates the landscape; with water nearby on both the work’s port and starboard sides it suggests the peninsula is afloat within the bay. The colossal weight of the stone contradicts the lightness of the form, creating a dialogue between symbols and materiality. The bow of the work points toward the bay, acting as an entry point for the viewers’ imagination and suggesting an experiential journey. The negative space formed by the center of the sails creates two open windows onto the surrounding landscape — framing the Bay Bridge and The Marina. As the view changes from different vantage points, so does the relationship between the two sails. The ever-changing perspectives can be experienced on both land and on the water.
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2024-04-24 19:34:592024-04-24 19:35:00Wind and Stone
The Bridge is a sculpture celebrating the bridge as a foundational form which connects communities. It takes the shape of two groups of recycled abstract figures made of the steel from the old bridge. The two groups are held together by carrying a colossal arch made of recycled stone. The recycled materials are emblematic of transformation: in life and in time and form.
The Boat in the Field, 2023 Cor-ten weathering steel and recycled granite 25 x 20 x 12 feet Located at ML “Red” Trabue Nature Reserve in Dublin, OH
The sculpture consists of two intertwined images. A cor-ten steel towering shelter consists of a spire roof on multiple bent long columns and a boat structure made of recycled granite, floating in midair. While the tall towering shelter connotes stability and rootedness, the boat is a symbol of transience and journeying into the unknown, beyond the horizon. Juxtaposing these two images represents stasis and kinesis, two forces vital to the human condition.
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2023-08-08 20:37:402023-08-08 20:37:43The Boat in the Field
On March 15th, 2023 I gave the Dublin Arts Council a studio visit as well as some insight into my daily life in the studio.
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2023-03-21 14:41:022023-06-08 21:44:02A Behind the Scenes Studio Visit with Dublin Arts Council
More information about this sculpture can be found in this article in The Columbus Dispatch here
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2023-01-24 17:38:172023-06-08 21:44:03Forthcoming Sculpture The Boat in the Field for ML “Red” Trabue Nature Reserve in Dublin, OH
I was featured in the Alpharetta-Roswell Herald for an upcoming project in Jones Creek, GA. Read about it here
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2022-10-14 14:32:592023-06-08 21:44:03Meet the New York sculptor turning Rogers Bridge steel into a 34 ft statue
Skirts and Pants (after Duchamp), 2000
Glass, wood
20 x 20 x 10 feet
This work deals with one of the seminal works of the 20th Century, Duchamp’s The Bride Stripped Bare By Her Bachelors Even(The Large Glass), and engages Duchamp’s attempt to reduce the figure to a flat image locked in glass. My approach was to take the opposite stand—to monumentalize the figures and to free them into a three-dimensional installation.
https://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.png00Aimeehttps://www.ilanaverbuch.com/wp-content/uploads/2016/02/logo_01-1-300x138.pngAimee2022-09-29 19:52:192023-06-08 21:44:04Skirts and Pants, 2000 in the backyard terrace of Nancy Hoffman Gallery
Even Walls Can Move
Even Walls Can Move, 2025
Cor-ten steel and recycled brick
15 x 30 x 4 feet
Located at the Bicentennial Park in Macon, GA
Commissioned by the Macon Arts Alliance
This sculpture powerfully embodies Macon’s complex history through its materials and form. The combination of weathered Corten steel and recycled bricks creates a dialogue between strength and transformation. The brick wall, breaking apart and taking flight, symbolizes Macon’s struggle with segregation and division. These bricks—materials deeply connected to Macon’s industrial history and architectural identity—represent the literal and figurative walls that once separated communities. The clay that formed these bricks came from the same earth all residents walked upon, yet the structures built from them often served to divide rather than unite. The rusted steel elements pushing through and reshaping the brick wall evoke the painful but necessary process of confronting entrenched systems of inequality. Just as the steel appears to bend and transform the rigid brickwork, so too has Macon’s community worked to bend the arc of its history toward justice and inclusion.
Even Walls Can Move: forthcoming public sculpture for Bicentennial Park, Macon, GA
Learn more about my artistic involvement in the development of the Bicentennial Park in Macon, GA in the article from the Macon Newsroom below:
World class artists selected for Macon’s Bicentennial Park
The Art and Beauty of Sailing on Display at Emery Cove Marina
An article on Wind and Stone recently installed at the Emery Cove Marina written by John Arndt
Read here
Wind and Stone
Granite and steel
15 feet
Located at the Emery Cove Yacht Harbor in Emeryville, CA
Wind and Stone activates the landscape; with water nearby on both the work’s port and starboard sides it suggests the peninsula is afloat within the bay. The colossal weight of the stone contradicts the lightness of the form, creating a dialogue between symbols and materiality. The bow of the work points toward the bay, acting as an entry point for the viewers’ imagination and suggesting an experiential journey. The negative space formed by the center of the sails creates two open windows onto the surrounding landscape — framing the Bay Bridge and The Marina. As the view changes from different vantage points, so does the relationship between the two sails. The ever-changing perspectives can be experienced on both land and on the water.
The Bridge
The Bridge, 2023
Cor-ten weathering steel, recycled steel bridge parts, recycled granite
18 x 34 x 12 feet
Located at Cauley Creek Park in Johns Creek, GA
The Bridge is a sculpture celebrating the bridge as a foundational form which connects communities. It takes the shape of two groups of recycled abstract figures made of the steel from the old bridge. The two groups are held together by carrying a colossal arch made of recycled stone. The recycled materials are emblematic of transformation: in life and in time and form.
The Boat in the Field
The Boat in the Field, 2023
Cor-ten weathering steel and recycled granite
25 x 20 x 12 feet
Located at ML “Red” Trabue Nature Reserve in Dublin, OH
The sculpture consists of two intertwined images. A cor-ten steel towering shelter consists of a spire roof on multiple bent long columns and a boat structure made of recycled granite, floating in midair. While the tall towering shelter connotes stability and rootedness, the boat is a symbol of transience and journeying into the unknown, beyond the horizon. Juxtaposing these two images represents stasis and kinesis, two forces vital to the human condition.
A Behind the Scenes Studio Visit with Dublin Arts Council
On March 15th, 2023 I gave the Dublin Arts Council a studio visit as well as some insight into my daily life in the studio.
Forthcoming Sculpture The Boat in the Field for ML “Red” Trabue Nature Reserve in Dublin, OH
More information about this sculpture can be found in this article in The Columbus Dispatch here
Meet the New York sculptor turning Rogers Bridge steel into a 34 ft statue
I was featured in the Alpharetta-Roswell Herald for an upcoming project in Jones Creek, GA. Read about it here
Skirts and Pants, 2000 in the backyard terrace of Nancy Hoffman Gallery
This work deals with one of the seminal works of the 20th Century, Duchamp’s The Bride Stripped Bare By Her Bachelors Even (The Large Glass), and engages Duchamp’s attempt to reduce the figure to a flat image locked in glass. My approach was to take the opposite stand—to monumentalize the figures and to free them into a three-dimensional installation.