Bruce Lindsay is a professional sculptor and educator based in Hamilton, New Jersey. A graduate of Bucknell University, he has been actively creating sculpture in cast metals and glass for over thirty years. Bruce has exhibited at Montclair Art Museum, Audubon Artists in NYC, Trenton City Museum, and elsewhere. In 2006 his “United States War Dogs Memorial, State of New Jersey” was dedicated in Holmdel, NJ. His sculpture “Use of Memory”, part of the Sculpture Foundation permanent collection, is sited at Grounds for Sculpture. Through his company Integral Sculpture Works Bruce has assisted many other artists with the design and production of sculpture in a wide variety of materials. A few of his pieces listed and shown below can be viewed at the Stone House Antiques Center.
· Icarus 2010 bronze, iron 28x12x15
· Edifice Complex 1996 steel 16'H x 6' x 6'
· Anima Heart 2011 bronze 54 x 30 x 22
· Deble 1997 bronze 52 x 11 x 12
· Zen Head 2002 iron 24 x 24 x 24
· Victoria 2011 bronze 42 x 62 x 14
· Between Essence and Existence 2002 bronze 24 x 24 x 24
· Cooperstown 1990 iron 30 x 20 x 18
· Victory stainless steel 35 x 20 x 18
Integral Sculpture Works
256 Allen Street Trenton, NJ 08618
T: 215-208-1711 E: email@example.com
Bruce Lindsay’s sculpture takes familiar objects from nature and by changing their material through the arduous process of casting in metal and glass produces artworks that arrest the sense of loss that the passage of time can bring. Items on the brink of decay, such as driftwood and leaves are rendered permanent in stainless steel and bronze. Their moment of departure in the crucible of casting is meticulously recorded in materials that are profoundly permanent. In the sculpture “Being Book” an ammonite fossil is transformed into a glass book that lives on in time. “Being Book” is not an elegy to a dead ammonite, but rather a celebration of the beauty and persistence of life spoken through the nature of materials.
Bruce Lindsay’s life-size cast bronze figurative sculptures are allegorical representations of concepts drawn from a philosophy of Tibetan Buddhism. Archetypal forms both masculine and feminine are combined with symbolic biomorphic abstractions, and thus embody the integration of spirit and matter. In “Use of Memory” (2001) the attraction to physical nature is a burden, and impedes the expansion of love beyond desire. A counterpoint is seen in “Anima Heart” (2011), wherein the winged element is offered to the sky. The white bismuth nitrate patina was chosen as an allusion to the feminine divine.