Note: Names of sculptures not in italics provided by this writer for ease of discussion.

	Larry's Triangle Fabrication. Did not see at night with lights on. Low relief. Detail mimics soldier course. Silver metal picks up sky. Hole in middle black.
	Native Cosmos Fabrication. Recognize few images. Not a vocabulary I know. Split in half. Maybe night/day; man/spirit. Drawing as sculpture. No real relief.
	Bensyl Fabrication. High relief. Mostly vanishes when edge on. Making bent sheet black down plays traditional "I did it for the shadows" reason. Stable yet unbalanced.
	Shadow House Fabrication. Almost large enough to be environment. Might do well for children. Again, I do not know the vocabulary. At times, light through one symbol falls on cut out of another. Do these juxtapositions create phrases? All right angles - formal.
	Dancing Girl Fabricated. Looks like made from maquette which was formed subtractive. Maybe curved wires drawn through clay. Very light base. Beveled edges SHINE. Self-illuminating. Change in scale bottom to top. Shame about the pedestal.
	Standing Man Assemblage. Found parts. Not as simple as Picasso's bull's head, yet retains some of the "this thing can look like this" aspect of found objects. Looks alarmed. Formal. Upright. Rigid. Superman bending steel? Rainbow god?
	Pirouette Fabricated. Saddle curve. Math writ large. Spins to show off. Play light and shadow. Starting perfectly vertical, it looks a little unstable, not quite balanced by arms.
	The Jubilation of Adoration Casting on fabrication. The glory of the pedestal. Difficult to treat as other than dismissible garbage. Figure possibly adoring God. Placed against sky works well for this. Fancy pedestal distracting. Mustn't be reading it "properly".
	Calvary Fabricated. On a hill. Three top heavy, tall, made from sticks free standing items. One is promoted. Two have hanging "heads". This MUST be the scene of the Crucifixion. Yet… no amount of looking really pulls that image together. Some nice work done with parallel shapes changing form as point of view changes. One has nice play of singular support. Tempted to use it as a study for fully developed figures in marble. Always reminds me of the nearby aspen trees.
	Whirled Peas Carved stone. Should suffer from being a big lump. But then, I've done some work that should suffer from the same problem. In the end, there is sublime movement in this static piece.
	Pliers Fabricated. Steel. Rust. Another delicate base. Great balance, not top heavy at all. Animal, bug, Vice-Grips, Moebius. Thin. Echo. Redirection. Balance. Pivot.

"Whirled Peas"	"Pliers"
Pirouette	"Dancing Girl"

The Scottsdale Community College campus is home to a relatively large number of sculpture installations. While they do not represent the full gamut of sculptural expression, they may well present a little something for everybody. As outdoor works in the harsh desert environment, the sculpture on campus encounters material restrictions and answers with a focus on natural materials. Of the four works highlighted here, there is only worry for Pirouette's black canvas retaining the purity of its blackness under the desert sun.

The majority of work on campus is fabricated from metal. This may be a reflection of the metal facilities at SCC's sculpture studio and the distinct welding bent of its former master. It also may indicate a cost of materials and labor issue, as some fairly fancy large work can be done with relatively little labor by working in steel. Of course, the ability of steel to be worked and to hold a desired shape and further to stand up under weather can not be discounted.

The four pieces highlighted here deal with motion in various ways. This is one aspect of what makes them appealing. Movement attracts the eye. When the beholder sees a static movement, her/his mind is drawn into echoing that motion, if not physically, at least in a mental experiment. We engage with motion far more than we do the inert.

"Whirled Peas" is a small dervish or tornado. The difference in cant between the top and bottom lends a dreamy quality to the rotation as if the sculpture is grooving on a freeform jam at a Dead show. The bifurcation in the pleats, some rising and other dropping, is critical to the movement in this work, preventing it from becoming a stack of pancakes.

Pirouette physically spins. The sculpture rotates in the wind about its point of support. This combines with the secondary motion of the hyperbolic paraboloid of the canvas surface. The opposing directions of stretch are the still pose after a specific movement. For a person in that pose there is strong muscle tension to hold the position, the memory of the motions executed to reach it and the intimation of motion from it. If this writer could attain such a pose it would be disastrous for him to try to spin as this sculpture does. Since it does indeed spin, the sculpture brings a fantasy element. The beholder lifted to the rarified air of the ballerina.

"Dancing Girl" has the most complex set of movements of these four sculptures. Depending on angle of view, different elements become different "limbs" of the "dancer". From the west there's a flamenco thing going on. Yet move to the east and the previous "left arm" extends back as a "right arm" raised up to sing an aria. This gives the beholder the opportunity to perform a complete dance while interacting with this sculpture, not just a single step or movement. The legs of the work touch the ground delicately yet stride forward with confidence. Come back tomorrow and the piece may well have walked on to the other side of campus.*

"Dancing Girl" is very successful in its use of light. The satin finish metal does not reflect the surrounding world with mirror like clarity, instead diffusing incoming light into areas of color. The smooth overcoat spreads light and color all around the sculpture. Areas in shade are constantly being illuminated from light bounced in by a neighboring element. There is one thin gap in the center of the piece which lets sky and light through, which separates the body to prevent it from becoming an overbearing mass of darkness. The flat ground edges may have a practical purpose but they also catch the sun and shine brilliant white arcs to fully develop edges that might otherwise hide.

"Pliers" pushes off against the ground and rises towards the sky. At the same time its slenderness and two long "leg" elements show it striding purposefully north. Trailing lines, straight out of the comics, accentuate that movement. The repeated themes of shape unify "Pliers" as an organic whole, not a mere assemblage of pieces. While not a recognizable being, there seems no doubt that this is a living thing. Perhaps it carries a shield and spears to do battle with the Arts Building. Or it is part of a giant space crane left where it plunged to earth. Or a fossilized bug covered in the rust of ages.

Clearly, much of the appeal in "Pliers" comes from the way in which it evokes a number of visions while never validating any of them. Also worth note is the balance the work makes between having enough detail to keep the eye engaged and maintaining an essential simple elegance of form. Further, it does this without being a neutral holder for fussy surface decoration.

Overall, the campus sculpture collection is varied enough that each student may well be able to find a piece which engages them in some way. This paper has focused on movement but also brings up other issues which are worth exploring on a tour of the collection - color, be it natural, applied, appropriated or other; meaning - be it provided by the beholder or perhaps as with some of the more representational work by the creator; ambiguity and explicitness; light and shadow.

* A note of irony has crept in. I walked by "Dancing Girl's" pedestal recently, and it was empty. She is nowhere to be found.