Visit the Sculptures


Explore the 8 works featured on the New Canaan Sculpture Trail, including descriptions, locations, and more.

Still On View…


Passages at the Hannan-Eberstadt Preserve

“Passages”, features seven translucent acrylic panels, each with different patterns and colors. The 10-foot tall panels are framed in steel, and will provide visitors with an immersive experience as they lead through the preserve’s meadow.

Artist: Thomas S. Berntsen
 Hannan-Eberstadt Preserve, corner of Smith Ridge and Canoe Hill Roads
Preserve Website: More details available at:
Parking: There is a small pull-off on Canoe Hill Road, which can accommodate 3-4 cars.
Viewing/Access: Passages is placed along a mown path through the meadow. The path is accessible through an opening in the stone wall, at the northern side (Canoe Hill side) of the preserve.

Labyrinth at the Watson-Symington Preserve


“Labyrinth” is the only permanent installation on the New Canaan Sculpture Trail, and features a series of winding paths, delineated by hundreds of hand-placed stones. Created from material found on-site, the piece is a stark contrast the linear, historic stone walls found criss-crossing the surrounding woodlands.

Artist: Christopher Kaczmarek
 Watson-Symington Preserve, across from 110 Wellesley Drive, New Canaan

Preserve Website: More details available at:
 Ample parking is available at the main entrance to the preserve, on Wellesley Drive
Viewing/Access: The installation is located towards the northern edge of the property. Once at the preserve’s trailhead, a map and accompanying signage will guide you to the installation.

Ashen at the Carriage Barn


Ashen” was created specifically for the New Canaan Sculpture Trail, and use a local ash tree that recently succumbed to the invasive emerald ash borer. After carefully cutting the tree, the artist creates small wooden blocks that are carefully reassembled in a pixilated, puzzle-like form, and reattached to the original tree trunk.

Artist: Anthony Heinz May
 Carriage Barn Arts Center, in Waveny Park
CBAC Website: More details available at:
 Ample parking is available at the Carriage Barn or surrounding Waveny Park lots.
Viewing/Access: This sculpture is installed in the Carriage Barn’s front courtyard.

Other Sculptures From the Exhibition

(Deinstalled Fall 2020)

After Alex-1/14 at New Canaan Town Hall


This larger-than-life kinetic sculpture is an homage to Alexander Calder, best known for his innovative mobile pieces. It consists of a series of stainless steel globes, each perfectly balanced and reflecting the beauty of the surrounding environment.

Artist: Gilbert Boro
New Canaan Town Hall, 77 Main Street, New Canaan

Sugar Maple at the Livingston-Higley Preserve


Officially titled “Mecanitex – Sugar Maple”, this piece is intended to be a stylized, abstract representation of one of New England’s most iconic trees; the sugar maple. Constructed using composite materials and steel hardware, the 10-foot tall piece is a stark contrast to the surrounding trees (including some sugar maples).

Artis: Carlos Davila
 Livingston-Higley Preserve, at the end of Apple Tree Lane, New Canaan

Preserve Website: More details available at:

Ring Tower at the Still Pond Preserve


This series of connected rings and posts soars to create a twelve-foot tall tower. The pieces is supported with a rebar frame and coated with pigmented ferro-cement, providing a rugged, yet natural appearance.

Artist: Joe Chirchirillo
 Silvermine-Fowler entrance to the Still Pond Preserve,
 763 Silvermine Road, New Canaan
Preserve Website: More details available at:

Bloom at the GreenLink Trail


This site-specific installation celebrates the blossoming and undulating patterns in nature. It is created by wrapping colorful flagging tape around acrylic panels, and is sure to catch the attention of any passers-by.

Artist: Elizabeth Knowles and William Thielen
 GreenLink Trail, between the New Canaan Nature Center and Irwin Park

Preserve Website: More details available at:

basics #39 at the Colhoun Preserve


“basics #39” is part of a series of public art installations that explore the abstract notions of form, space, and utility. Created using a series of 2″x4″s, the piece was custom created to fit with the landscape and natural surroundings at the Colhoun Preserve.

Artist: Matthias Neumann
 Colhoun Preserve, across from 203 Davenport Ridge Road

Preserve Website: More details available at:
 The Colhoun Preserve has a gravel parking area at the entrance, located through the stone wall and wooden gate.
Viewing/Access: This piece is installed in the meadow at the front of the Colhoun Preserve and is visible from the parking area.

My work is inspired by the irrepressible beauty and constancy in the cycle of time. Observing another realm where elements resembling structure, a vague mythical landscape, or sensuous form reflect a dream state that so familiar, so present, become a witness on a journey. While in meditation and carried away out of self, connecting to a reservoir of fleeting fragments of imagery, a couplet of words from a poem, or a lyrical run of musical notes become the core of my artwork. These treasures are gathered from my experience and gently coax me to acknowledge that another dimension exists within where all is well, beautiful and complete until a realization comes and I chuckle to myself. I am not done with my changes.

Passages-Hannan Field: The meadow path, dotted with glinting portals of mirror, light and color, rhythmically lead us from the entrance toward a solitary tree near the middle. These portals are guideposts, steel frames holding acrylic sheets that rise above the soil over eight feet, layered with dichroic film reflecting the environment with varying colors, responding to shifts of angle and light. The mirrored graphical symbols are borrowed from sketches of the famous labyrinth at Chartres Cathedral outside Paris, France. The surrounding environment and the observer become participant, reflecting and refracting within the pristine lines defining the vertical prism.

A labyrinth is not a maze, nor a puzzle to be solved. It is not intended to trick you or challenge you with vexation, but it is a singular path to be traveled. One followed by choice.  One where the destination is the journey, and time and space for contemplation the purpose.

A labyrinth is a line, often considered as a line convoluted, with compounded twists and turns.  The very word labyrinthine is a term to describe that which is complicated and intricate. But at its core, at the heart of it, a labyrinth is just a line.  One without distractions, one without choices and options.  It is a singular line to follow.  One that is chosen by the walker, not forced upon them.  The invitation to walk a labyrinth is just that, an invitation.  It is not a demand, or even a request, it is an option. One chosen when you feel the need, the pull, the desire. The desire to take on a path, or a pilgrimage.  The desire to take a moment to both focus and expand your attentions.

For some, it is a chance to set out with an intention, a question. For most, it works best when you don’t try to answer that question, but just walk with the question, and see how it changes, and reveals more of itself, with each footstep.

Please consider, and accept, if you so wish, this invitation.  This invitation to all who feel the need, pull or aspiration to undertake walking this labyrinth, and to do so with appreciation and gratitude to all who join, have joined, or will join, the path we share together.

Ashen is a gray tonal representation of natural decomposition.  Something shared with most all life sources on Earth.  Human hair, decaying leaves, once-fruitful landscapes now covered in concrete and industrial structures are all examples of processes involving entropy.  Both natural and unnatural objects undergo this tonal degradation.

The Ash tree has many varieties, which are subject to the same life cycles that affect all living things.  Insects, storms and ecological competition affect the success rate of Ash, like all woody vegetation.  Much can be learned from trees and forested landscapes inasmuch society defines progress through the severing of human ties with nature except to be exhausted as a resource for monetary or fiscal economy.

My work explores how modern technological advancement and embrace of planned obsolescence leads human departure from all natural essence of being.  I explore the natural being in process of collapse, to be replaced by artificiality through physical fragmentation of dead/dying trees.  The environmental structures appear pixelated as if through digital rendering and are puzzle-like, similar to games that help youth acquire worlds around them.  These works are about past/present/future of natural sustainability on Earth and how the grid affects the all-important presence of nature.

Inspired by the works of Alexander Calder, this hanging kinetic, mirror-finished sculpture revolves and reflects the beauty of its surrounding environment and passersby. The artist invites the viewer into the work. No longer a detached observer, one feels like a child again, wanting to climb, hold, enter, and remain inside the spheres. These sturdy, open, touchable forms are calming and protective but never constricting.

The concept behind this sculpture, Sugar Maple, is of an abstracted, contemporary tree. Inspired by Nature, this tree does not compete with natural trees, but acts as a modern complement, standing with a bold contrast of color. This sculpture celebrates nature while making a bold and joyful visual statement of strength, resilience, and growth.

The articulated forms at the top of the sculpture are reminiscent of the twists and turns that branches take as they grow. Sugar Maple is constructed of a highly engineered marine wood composite, designed to withstand the elements while paying tribute to the forest from which it came. The sculpture offers a different view from every direction, the profile changes as you walk around it.

I am drawn to working with bold colors, and strong geometric shapes, and like many of the works I create, this sculpture embodies both of these elements. The deep saturated color of Sugar Maple is the perfect foil for Nature's many shades of green. The leaves of a maple tree turn a glorious, exuberant, blazing red each fall with the change of the season, and the color of this sculpture is intentionally chosen to rejoice in that transformation.

Ring Tower embodies a conceptual theme of finding architectural order emerging from nature. I have been working on these ideas for most of my career.

This sculpture is about the power of circles in nature and in man-made objects. Circles are the most essential shape in the mechanical world, being the core element of wheels, gears, and bearings. This work attempts to bring natural forms and human mechanisms into a conversation with each other.

I build sculpture with a degree of uncertainty and spontaneity. I am very process-oriented, and these pieces grow and evolve as I continue to work on them.

This is a Ferro cement sculpture; the process involves bending and welding rebar into a sturdy armature. This is then wrapped with wire lathe and attached to the armature with tie wire. The piece is then coated with pigmented mortar.

Bloom is a site-specific installation celebrating the blossoming and undulating patterns in nature.

Consisting of a circular central portion of colorful spiral-shaped “blossoms” surrounded by curved arch curved “petals,” Bloom collaborates with the environmental setting in shape and size, ascending and descending in an undulating rhythm mirroring the organic tempo of the landscape.

The arch-shaped “petals” rhythmically lead a pathway up to the colorful center of the “blossoms.”

The “petals” and “blossoms” are attached with long garden staples placed directly into the earth. Responding to the texture, movement, and contour of the precise environmental setting, Bloom creates an endless possibility of color, form, and fusion.

Over the past 5 years, I have been engaged with a series of public interventions under the title “basics,” exploring an abstracted notion of form, space, and utility in temporary public sculpture. While all individual pieces within this series are unique and specific to their site, they share a material and formal language that is derived from the use of 2’ by 4’ dimensional wood. The work wants to be experienced as a temporary spatial and sculptural intervention in dialogue with its environment. Initially conceived as part of a larger museum installation at the National Museum of Contemporary Art in Bucharest, Romania, the series has since had a substantial number of iterations throughout the U.S.