There are currently over 60 sculptures on display at the park. Here is a selection of 12 works. Typically, one or more new sculptures are sited at Cold Hollow each year.
The park showcases five decades of David Stromeyer's work.
Do-Jo-Ji, 2016-2020, 13' x 8' x 8', corten and stainless steel
I imagined a complex shape able to rock and tilt in any direction while rotating. Ultimately this required sourcing specialized parts and solving tricky engineering/dampening problems. The many experiments and revisions required three years to get everything right.
Ensemble 4+2, 2019, 8' x 16' x18', steel and stone
Comfortably contained or breaking free? What might this say about our physical and psychological relationship to the spaces we inhabit and to nature?
Moments in Play, 2019, 17' x 7' x 31', painted steel and stone
This is my first instance of using an existing, in situ landscape element at the Park. This sculpture presented several serious balance and engineering challenges. Surprisingly the seven-ton structure turns in a modest wind
We Need To Talk, 2018, 12' x 11' x 14', concrete/stone/stainless
I distort the basic wheel shapes of the concrete, bend them, add the stainless, and work the surfaces all to animate them. The stone is quiet, protected, perhaps humbled.
Sitting in with the Trio, 2017, 20' x 11' x 12', painted steel & stone
As in jazz, things come together through coloration, modulation, and rhythm to create a new whole.
The Shuffle of Things, 2015, 12' x 15' x19'
What began as a horizontal, circular array of shapes supported above the viewer, morphed during the design phase to this more engaging structure.
Jumoke, 2013, 20' x 12' x 8'
I have sited this male abstract figure looking across a large expanse of meadow to my female, concrete, totemic sculpture "Ngozi". I want the pair to speak and hold a huge space. The title is an Egyptian boy's name meaning "loved by all".
Darwin's Reply (for Arthur), 2007, 12' x 15' x 24', painted steel
Though the shape and contour of each element is unique, they come together to render a cohesive whole much like the varied species of our natural world. In honor of my code-breaking father-in-law who much appreciated Darwin's work
Oop-pop-pa-da, 2010, 18' x 8' x 6'
This four sided, compound-curved shape was first created in steel then clad in hand-broken, Italian, porcelain tiles. Its title comes from Dizzy Gilespie's upbeat scat tune.
Three, Three, Three, 2002, 24' x 14' x 20'
For all the considerable size and weight, I like its playful, energetic, accidental quality.
Slice Rock, 2004, 9' x 9' x 11'
For two years I worked to describe and articulate the form, surface, and inner spirit of one particular small field stone. Several works grew out of this exploration.
Look Homeward, 1996, 8' x 16' x 20'
Utilizing steel cut-off shapes from the previous twenty years, I closed in the contained space to create a shelter-like structure. This work can be entered like a house.