The Way has long stood as an acting symbol for the park, projecting in all directions. This monumental work, in part, is meant to represent the awe-inspiring impact of classical Greek temples and mammoth Gothic-style cathedrals. The massive crumpled cylinders are welded together and placed to resemble a post and lintel architectural system.

Alexander Leiberman

Laumeier Sculpture Park Commission with funds from the Mark Twain Laumeier Endowment Fund.

Jene highstein

Knots deftly re-spins hardcore industrial material as flimsy pool noodles. The entwined bundle of steel tubes exemplifies the multi-layered concept of birth, the entanglement of human emotions, and our inability, at times, to resolve feelings or articulate thoughts.

cosimo cavallaro

Dré Wapenaar's Treetent plays with both the natural forms of habitation built by species that share our world and the abstracted forms of home we humans construct.

dre wapenaar

Seventy feet long, thirteen feet wide and following the contours of an uneven slope in Laumeier’s Way Field, Robert Stackhouse’s St. Louie Bones creates a rippling silhouette on the Park’s landscape.

Robert Stackhouse

Lipski explores how context transforms the meaning of found objects, through a often whimsical combination of materials and site. Ball? Ball! Wall? Wall! looks like an oversized desktop toy or a dropped pearl necklace, but the parts are really recycled steel marine buoys.

Donald Lipski

A pioneer in large-scale abstract expressionism in sculpture, Mark di Suvero works with industrial (found) materials to create monumental works with “presence,” or what he calls “cubist, open spatial sculptures.” Destino is a bold construction characterized by oblique lines and strong diagonals set in angular arrangements that appear precariously balanced, but are in perfect equilibrium.

Mark di Suvero