A Sculpture Trail...

halfway between Storm King and Grounds for Sculpture
lies Laurelwood Arboretum
Sculpture Trail logo

A Sculpture Trail, part of the continuing Art at the Arboretum series, is a multiyear project to benefit Laurelwood Arboretum. EXPLORE … installations are underway!


The goal for A Sculpture Trail is to promote art — unique and engaging sculptures created by prominent artists from around the country — that complements the landscape, foliage, and water features of the Laurelwood Arboretum.


It is also a fundraising opportunity. ALL pieces have been curated by Scott A. Broadfoot and are available for sale through an exclusive agreement with “Broadfoot & Broadfoot, A Collection of Fine Art,” Boonton, NJ. A percentage of the proceeds will be donated back to the Friends of Laurelwood Arboretum (a 501(c)(3) non-profit organization) and will be applied to the installation of a capital improvement project.

We are well along our way towards delivering on our plan to install 15 remarkable works from a diverse group of prominent artists. New installations are being installed throughout the Spring so if you haven’t walked through the park recently, take advantage of the gorgeous weather and do so.


Educational programs for both school age children and adults are in development in addition to docent-guided and audio tours.

Installed May 2021

“Sail,” by Ken Hiratsuka, is a 88” x 64” x 12” granite sculpture and features a maze-like design formed by one continuous line that never crosses itself. This  captivating piece is representative of Ken’s distinct line feature that is consistent across his sculptural works. Take a look at Lorraine Meyer’s photographs of the installation. Read about the artist.


Mark your calendar for the weekend of June 5th-6th for a guided walk-through of the works installed and a sneak preview of what’s to come. Scaled-down, one-of-a-kind sculptures by participating artists will be available for sale — with a piece to be raffled off.

We’ll also be officially kicking off our Ad Journal Sales and Sponsorship Opportunities ahead of our Grand Opening, September 18th ! Help us keep the momentum going by contributing to this exciting project.


Click on the links below to contribute to this exciting project:


The Friends of Laurelwood pro bono attorney, Stuart Reiser and his wife Leslie, long time Pines Lake residents, are serving as chairpersons. To get involved with this project please call 973-831-5675 or send an email to sculpturetrail@laurelwoodarboretum.org.


Scott A. Broadfoot, owner of Broadfoot & Broadfoot — A Collection of Fine Art, is a seasoned art expert with well-established relationships within the contemporary art and sculpture world. In addition to running his eponymous gallery, Broadfoot is the current curator (and designer) of two exciting projects: Natirar, a celebrated restaurant and resort located in Peapack/Gladstone, and the Bedminster Farm residential development project, dedicated to environmental sustainability and a healthy and rich lifestyle. Most recently as the Curator of The Sculpture Trail at Laurelwood Arboretum, Broadfoot has brought the same passion that he has demonstrated on his other projects to The Sculpture Trail with his creative selection of select works from prominent artists around the country and thoughtful placement to promote harmony between man and nature.

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Jon Krawczyk

‘Robber’s Roost’ fabricated from polished steel and enamel paint measuring 9 feet high was created by Jon Krawczyk.

Krawczyk pushes the boundaries of his medium by transforming steel and bronze into a study of the human condition. Lauded for his ability to turn metal into large scale biomorphic sculptures that can strike one as having their own ubiquitous presence.

He draws inspiration from renowned modern masters such as Pablo Picasso, Joan Miró, Henry Moore and David Smith. He is not only influenced by the obviously masterful techniques of these artists, but also by the philosophical tenets of their sculpture practice.

His work also has a conceptual side, that dovetails with the physicality of making art and the objects that result from that material action, such as energy and matter. Krawczyk cuts, pounds, and welds sheets of bronze and stainless steel to fabricate smooth, monolithic forms that look as though they were carved by a samurai slicing clay. At the same time, the highly polished sculptural

Jon Krawczyk
Photo Credit: Dave Teel Photography
Robbers Roost

‘Robber’s Roost’
Laurelwood Arboretum Location #1

profiles of his “Smoke” and “Glacé” series suggest raw stone yet evoke vaporous shapes and melting ice. There are echoes of Isamu Noguchi in this work, as it sits at the intersection of natural and manmade forms. Additional traces of Henry Moore can be found in a consistent concern with volume and abstract figuration.

Hailing from Boonton, NJ and a graduate of Connecticut College in New London, CT, Krawczyk studied fine art throughout Europe before moving west in the 1990s. Early in his career he apprenticed with many acclaimed sculptors who were considered icons of the second generation of great American metal sculptors. Over the last 20 years, Krawczyk has parlayed these key life experiences into his aesthetic approach and studio practice.


He has exhibited in several galleries across the United States and placed in many prestigious private art collections around the world. Several of Jon Krawczyk’s most recent projects are large-scale, site-specific, public art installations at high profile locations in Silicon Valley-San Francisco Bay area, Seattle-Bellevue region, Los Angeles-Beverly Hills, Metropolitan New York, NY / Newark, NJ area.

Selected solo exhibitions include Garboushian Gallery, Beverly Hill, CA; Broadfoot & Broadfoot Gallery, NYC; Lumina Gallery, Taos, NM; and KL Fine Art, Chicago, IL

Micajah Beinvenu

Pi in the Sky III, fabricated from stainless steel and standing more than 17 feet high, was created by Micajah Bienvenu. His work combines technology with traditional, large scale design and fabrication to demonstrate the human experience. His pieces evoke emotion that invite us into spaces that reflect the enormity of the natural world and the human experience in relation to it in the moment.

Micajah studied sculpture at Whitman College in Walla Walla, Washington. A celebrated Pacific Northwest sculptor, he now resides in Vermont where his contemporary sculptures are conceived in a 3D modeling program and fabricated in his studio.

His work is best known for its graceful twisting and turning sculpture made from carefully crafted stainless steel metal. According to the artist, “my work is meant to inspire and uplift. I believe art

‘Pi in the Sky III’
Laurelwood Arboretum Location #9

should make us feel better. With its emphasis on curves, lines and seams, my work has been described as 3-D abstract paintings.”

Micajah Bienvenu
Micajah Bienvenu

Recent public commissions include Washington States Arts Commission, Art in Public Places Program, South Seattle College, Seattle, WA; Thurman Street Bridge, Portland DOT, Portland, OR; Town Icon Sculpture, Town of Friday Harbor, WA.

Selected exhibitions include Matzke Galley of Fine Art and Sculpture Park, Camano Island, WA; Gallery Without Walls, Lake Oswego, OR; Salem Art Works, Salem, NY; Art in the Parks, Westchester County, NY; and his work is included in corporate collections including MacDonald’s Corporate Headquarters, Seattle, WA; Boeing Commercial Airplanes, Renton, WA; Nordstrom Corporate Headquarters, Seattle, WA; Spears Plastics, Los Angeles, CA.

Artist Statement: In the early part of my career my studio was in close proximity to heavy industry in Seattle and I was exposed to many large-scale fabrication techniques. This really expanded my ideas of what was possible with my art making. I am inspired by forms found in nature and science. I particularly love the fluidity of form found in the natural environment such as vines, tree roots, water currents and the paths of subatomic particles.


Bill Barrett

‘Flight in Abstract’
Laurelwood Arboretum Location #7

“Flight in Abstract,” a 51” by 45” by 21” fabricated bronze sculpture was created by renowned artist, Bill Barrett. The piece has a sense of movement or dance of the abstract figures with the complex swirls and twists of intertwining bronze. Barrett is known primarily for his large-scale outdoor public sculptures of fabricated aluminum, bronze, or steel that address the interplay between positive and negative space with grace, elegance and exquisite balance.

Barrett earned a BS degree and an MS degree in Design from the University of Michigan, and later a Master of Fine Arts degree from the same institution. He has taught at Eastern Michigan University, the Cleveland Institute of Art, SUNY New Paltz, Queens College and Columbia University.

In 2011, his commemorative bronze sculpture ‘911’ from his Lexeme Series was installed for temporary display in Tribeca’s Finn Square Park in New York. The work, which combines abstract and representational elements, has been celebrated for its graceful tribute to the tragic terrorist events of September 11, 2001.

Bill Barrett

William Paterson University

Over the past forty years, he has exhibited regularly in New York and Santa Fe in solo and group exhibitions. His works are represented in the collections of Grounds for Sculpture in Hamilton, New Jersey, the Museum of Fine Arts in Santa Fe, New Mexico,  the Knoxville Museum of Art in Tennessee, and the Virginia Museum of Fine Arts in Richmond.

His 9-foot work ‘Tango’ can be seen outside the Cheng Library on the campus of William Paterson University in Wayne, New Jersey.

Artist Statement: Abstract art is like music in that when you listen to a song, everyone has different ideas about it, feels different emotions because of it. Even the same person listening to a piece at different times will feel differently. That’s true of abstract art. As a viewer, you can interpret it for yourself as well as seeing what the artist made. That’s what I like about abstract art: you get a chance to participate.

James Tyler

Iyemoja is an Orisha from the Yoruba religion of West Africa. She is the protector of all women, governing childbirth, conception, love, and healing. According to myth, when her waters broke, it caused a great flood creating rivers and streams. Iyemoja also traveled in slave ships to the Americas where she evolved into a revered goddess of the sea among practitioners of Brazilian Umbandu and Candomble, Cuban Santeria, and Haitian Voodou.

James Tyler
Brickhead Iyemoja, James Tyler Sculptor.

Brickhead Iyemoja – Laurelwood Arboretum Location #15

James Tyler’s Brickhead installations are unique colossal heads that invite us to identify with the world’s ceramic heritages. They bring today’s faces together with pre-Columbian, South American, Native American, Asian, African, and Western influences. Gallery Director Mark Ruschman noted, “There is something timeless in Tyler’s Brickhead sculptures, reminiscent perhaps of the temple carvings of Angkor Wat or the great Toltec heads of Central America. Yet they are clearly contemporary, relics of a civilization not yet past…The ponderous weight of the brick constructions is juxtaposed with the ethereal nature of time.” At the same, the heads are stylized portraits of everyman and everywoman. They are unique yet universal. They are us.

For ancient peoples, colossal stone and clay heads, such as those created by the Toltec, Olmec and other cultures in central Mexico, often symbolized their connections with the spirits they worshipped, and these, in turn, often represented the elements, such as rain and sun, or other larger-than-life phenomena, such as death and love. Each culture created large heads to suit its own purposes. The Toltecs created large ceramic heads symbolizing their indigenous culture and values, yet scholars differ in their analyses of the origins and meanings of these works. Tyler’s easy way of replacing the gods with our own visages is, in a way, Socratic. Socrates insisted that the gods on Mount Olympus were only representations of a higher being. By choosing to represent all of humanity, the here and now that exists outside of cultural considerations, Tyler is having his own Socratic dialogue with pre-Columbian artists. [From Tyler’s website, tylersculpture.com]

Gabriella –
Laurelwood Arboretum Location #6