Birmingham, Alabama - Across America, in parks and outside libraries, you’ll find artist Deedee Morrison’s remarkable steel sculptures - beautiful towers of silver sheet metal that glow from within like a firefly after sunset. Grand as they are, these beautiful structures have unexpectedly humble beginnings at Deedee’s studio in Birmingham, Alabama.

Her studio space is located in what was formerly Republic Steel Mill, situated just outside of an active rock quarry.  At one time, the steel mill was an integral part of Birmingham’s industry, and that significance is not lost on Deedee. “Working in this environment gives me such unbelievable perspective.”

She also enjoys the hustle and bustle of the quarry nearby. “I can hear trucks coming and going, dynamite being blown, the quarry walls falling in.”

The path Deedee took to attain her studio near the rock quarry has been a fascinating journey.  An economist by trade, Deedee was living and working in London when she began taking sculpture classes. Back then, her medium was clay, and art was merely a hobby for her.  After moving back to the United States, she picked up a welding gun and enrolled in a two year certification course at a local technical school. Though it was quite a different experience compared to a traditional art program, the welding course played a large role in her evolution as an artist. “I’ve always wanted to be a welder, I have no idea why,” Deedee laughs. “I love working with metal. It suits me.”

Deedee’s studio is equipped with a plasma cutter, but by working with local fabricators she is able to expand the size of her projects and take on new challenges with her art. The ability to fabricate larger pieces has evolved the more she has learned, and with access to laser cutting technology she is able to achieve more  intricately detailed patterns in her pieces.“It is a pleasure to work alongside people who understand the material and its nature better than I do. I’m still learning; I learn every day.” 

Deedee continues, “The more I learn the more I understand how I can create – how to make the material bend, how to get what I want out of it or what more I can ask from it.”

As a public artist, Deedee is committed to using her artwork as a platform to relate a message of environmental awareness. Her greatest inspiration is nature, and her studio’s location helps her connect with the earth in a significant way. “I love the heat in the summer; the cold in the winter; being exposed to the elements and that close to the earth. I love working in such an organic yet industrial setting. At the bottom of the quarry, I’m standing in 600 million years of history.”

In her Charms series of sculptures, Deedee incorporates limestone rocks she has collected from the quarry’s perimeter with her signature sheet metal to embrace this geological history she admires. Deedee is dedicated to using environmental efficiencies in her art as much as possible.

“Our understanding of renewable energies is limited only by our lack of knowledge,” she explains. Exploring these renewable energy sources has encouraged her growth as an artist. Some of her earlier pieces are lit with highly efficient LED lighting while her more recent pieces go a step further and utilize solar power.

Seed Pod, located in Chattanooga’s Renaissance Park, is one of her first and greatest practical applications using solar energy. Deedee likens the technology to the process of photosynthesis. “A plant sits outside and absorbs enough energy to build new life,” Deedee marvels. “Seed Pod is a great example of how you can harness the resources of the sun. It is one solar panel that powers itself every day, without fail.”

Demonstration pieces such as this are aweinspiring ways to introduce alternative energy to a community in a profound yet understandable way from a very unique artist.

The Designer: What gave you the idea to incorporate solar power into your artwork? It seems outside the mainstream of public art.

Morrison: Light was introduced into my sculptures years ago by the nature of the materials and technologies that I utilize to create art. I am a fabricator, so the sculptures, by design, are built on an internal armature system that creates hollow spaces. I began experimenting with color and light to fill up the space inside the sculpture and give the work an added dimension, particularly at night.

Several years ago, while I was on a boat in a harbor in New York, I saw a home with an enormous solar panel system in the front yard. I thought it was inspired and forward-thinking, but flawed - because it had solved one problem and created another: an eyesore for both the home and everyone on the lake. But it did germinate an idea regarding the relationship of my artwork and light, and I began the transition into creating solar-powered light sculptures. I kept thinking
about the system that I had seen on the lawn: If given the opportunity, how would I create both an aesthetically pleasing sculpture that would not only serve
the home (or community) for its energy function but also have a powerful artistic statement?

The first solar-powered sculpture that I fashioned came out of this process. It is called Sun-Catcher and it’s a visual display of the power and energy that’s
available every day from a single solar panel’s relationship with the sun. The solar panel is actually incorporated into the sculpture and is installed on the top
panel of the sun totem, capturing energy during the day and emitting its dramatic stored light at night.

The Designer: You have an unconventional setting for your studio. Is this the environmental inspiration behind your artwork?

Morrison: I work in a very industrial setting that is an amazing work environment for an artist. My studio is in the home of the Old Republic Steel Mill and what is now Wade Sand and Gravel Quarry. When I work with rocks out of the quarry, the limestone is harvested from an area with 600 million years of geological history. I think the process of harvesting the stone brings a certain awareness and perspective to my work.

The second element of influence is the backdrop of the old steel mill and buildings that fostered the industrial development of this whole region and has now been made obsolete. Republic Steel closed in the 1970‘s. There is, of course, residue and environmental impact from this period in Birmingham’s history, but the plant made the most of the known technology at the time by producing by-products from the coke ovens that included gas, tar, light oil, etc. I think it’s fascinating to think about how technology can continue to answer many of the compelling challenges we face today - for smarter, cleaner and more efficient energy as our understanding evolves to find out what best
serves our future and the future of our children.

The Designer: You are a public artist - what does that mean? Give us an idea of what public art does for a community.

Morrison: Public art has the wonderful opportunity of communicating the values and cultural identity of a city. The public art opportunities in the
United States have grown remarkably over the last 10 years as many cities have come to understand the importance of art in the revitalization and
economic development of urban areas. Many cities have instituted “Percent for the Arts” programs that have transformed the public landscape. As an
artist, it is a wonderful experience to answer a call for a public art program, be awarded a contract, work on the project for nine months and install a
sculpture that the community supports and embraces.

I have recently installed two solar sculpture projects in Clearwater, Florida and Chattanooga,
Tennessee. I also have two upcoming solar light sculpture installations this summer in Colorado and California and I am working on renewable energy
exhibitions for several Botanical Gardens. Botanical Gardens are a natural fit for organically inspired sustainable art that works to promote renewable energy solutions.

The Designer: Can you tell us a little more about your most recent solar powered light installation.

Morrison: Seed Pod is a sculpture that I fabricated for the Renaissance Park in Chattanooga, Tennessee. The park is a 23 acre wetland park created on what was once a manufacturing site. The park effectively demonstrates how a polluted area can be returned to a clean river habitat and a natural park setting. The design of the park promoted the return of native plants, enhancing the river eco-systems. It also provides a wonderful balance between urban renewal and the conservation of natural resources.
The eight by twelve foot sculpture that I designed for the park represents a seed coming out of a dormant state to form new life. The sculpture displays the power and energy that’s available every day from a single solar panel. Near the Seed Pod sculpture is an 18 foot solar tower that, like plants, collects and stores the energy released from the sun. The Seed Pod and the solar tower* are intimately connected in the phenomena of life and growth. The solar tower captures the energy of the sun during the day and the Seed Pod sculpture lights up at night, giving the sculpture its dramatic added dimension of light. Solar sculptures in the right environment are extremely effective ways to demonstrate how solar energy works and can become an icon of sustainability for a city.

The Designer: Where would you like to go with this - how do you see solar and art in the future?

Morrison: Currently, solar panels and systems are considered unattractive in the majority of settings where they are placed. But what if a system that is sculptural by design can be created to capture energy and add aesthetically to the environment simultaneously? Solar sculptures in the right environment are extremely effective ways to demonstrate how solar energy works and can become an icon of sustainability for a community. My dream is for a project of monumental scale, where the solar light sculpture could feed not only the light sculpture, but harvest the energy for the adjacent building, home, or park where the sculpture resides. What a powerful statement.

Over the last three years, one of these artists, Deedee Morrison, has been very busy.  She has installed 14 pieces of public art in places like Washington, Utah, Florida, Wisconsin, Louisiana, and most recently at the Fairhope Public Library in Alabama.  Each sculpture usually takes six to eight weeks to fabricate and can be anywhere from 12 to 15 feet tall and weigh up to 5,000 pounds.

“Art is about interpretation,” Morrison says. “It starts the moment a person encounters a work of art. I can attempt to explain what I am trying to express, but it really comes down to the experience between the individual and the sculpture.” The creation of the “Charm” series of sculptures begins with a 3,000-pound limestone rock that has been harvested from the Wade Sand & Gravel quarry. Symbols in the sculpture, such as these unevenly balanced “charms,” are attached to the limestone rock and ask, ‘What am I tethered to and what sustains me?’”

After graduating from The University of the South in 1986, Morrison worked in London and Japan for several years before settling down in Birmingham. When her three children were starting school, she enrolled in a two-year welding program. Shortly thereafter, she met Robin Wade Sr., who has a love for the arts and is a local patron. Wade

Sand and Gravel is home to about five to eight artists, and Wade offered her a studio spot near the old Republic Steel Mill. For 10 years, Morrison has been creating metal and limestone sculptures and has recently introduced solar power to light them. “I experimented with light and evolved to create sculptures that speak about the need for sustainability,” she says.

Morrison goes on to talk about what she loves doing: creating of sculpture as sustainable art. “I have recently installed solar commissions in Chattanooga and Clearwater, Fla., and have a sculpture that I am working on for a project in Colorado.  My favorite is the Seed Pod sculpture in Chattanooga at the Renaissance Park, which is a green park. The sculpture represents a seed coming out of a dormant state to form new life. The sculpture displays the power and energy that’s available every day from a single solar panel. Near the Seed Pod sculpture is the 18-foot solar tower that, like plants, collects and stores the energy released from the sun. The Seed Pod and the solar tower are intimately connected in the phenomena of life and growth. The solar tower captures the energy of the sun during the day and the Seed Pod sculpture lights up at night.

“I would love to see more sculptures throughout Birmingham,” she says. “We have so many great green spaces. Red Mountain Park would be fabulous for sculpture placed among the old historical buildings. The park has such an interesting natural terrain.”

The artist loves her studio at Wade Sand & Gravel and plans on being there for a long time.

Wade Sand & Gravel is a place of living history with millions of year’s worth of inspiration for artists and their art.

“My father started mining dolomite, for Republic Steel Company, in 1932,” Robin Wade Sr. says. “It was during the Depression. Dolomite is a fluxing material, and supply was not dependable. With mules and wagons, they brought the rock that was loaded by hand, and that is what kept Republic Steel going through rough economic times.  For years, he was the pay master for Republic Steel. He would go to the bank, get a satchel full of money and pay all the workers in cash.

“As a child, I loved being around my father and wanted to be with him and where the action was. He taught me a lot. He leased the quarry from Republic Steel in 1932 and founded R. A. Wade Company.  In the 1970s, we bought the entire property that the quarry sits on and the facilities of the old steel mill from Republic Steel and formed Wade Sand and Gravel. It’s a rare quarry because it’s unusual to find both dolomite and lime rock in one location. Today the quarry produces limestone for aggregate/construction, and dolomite for metrological applications, a fluxing stone in steel mills.”

Wade began asking artists to share the space with his commercial operation back in 1974. “The quarry is on 425 acres of land,” he says. “My wife is an artist, and we both realized that artists need each other and a cheap place to work. I started inviting artists to come here. Some come and stay for a month, some stay for three years. We have had visiting artists from Germany, Amsterdam, England, Ireland, the Czech Republic and from all over the United States.

“The art world needs support,” Wade says. “There are no reasons for art and industry not to work together and assist each other. We all need each other.  My hope is for Wade Sand & Gravel to be a place for artists to live and create.”

Quietly, without much fanfare, local Birmingham sculptor and installation artist Deedee Morrison has created a "public art trail," from Orange Beach, Alabama to Chattanooga, Tennessee.

Based in Birmingham at the old Republic Steel Mill, which is now Wade Sand and Gravel Quarry, Deedee Morrison draws her inspiration from the 600 million years of geological history that has been uncovered and surrounds her studio. Her work is influenced by her love and interest in the natural world and sustainable design. For example, many of her sculptures have incorporated solar powered lighting.

Morrison's work is on display throughout the country, from the earthy Pacific Northwest San Juan Islands in the state of Washington to America's heartland in Oklahoma City. But over the past few years she has organically and gracefully "imprinted" a beautiful trail of public art on her home state.

Morrison has installed five major works of public art in Alabama and one just over the stateline in Chattanooga on the banks of the Tennessee River. Her latest installation occurred in May in the city of Gadsden.

Here are links to photos and descriptions  of Deedee Morrison's "public art trail":

Orange Beach - "Lighthouse" - Located on the grounds of the Orange Beach Arts Center

Fairhope - "A Matter of Fiction" - Located in front of the Fairhope Public Library

Daphne - "Luminosity" - Located in front of the Daphne Public Library

Chatom - "Caged Content" - Located at the Washington County Public Library

Gadsden - "Charm" - Located on Broad Street in downtown Gadsden

Chattanooga - "Seed Pod" - Located at Renaissance Park in Chattanooga, Tennessee

It is an impressive journey. Let's hope Alabama can build on its "trail-making" reputation and  develop a "Public Arts" trail in the likeness of Robert Trent Jones and all the other trails. Deedee Morrison's work would be a good place to start.

The 9-foot-high piece is composed of five aluminum columns carved with an intricate, almost delicate, design, which is backed by a bluish-green material. At night the LED lighting inside the sculpture shines through, giving the piece an almost ethereal feel.

The combination of industrial-style materials and organic designs are a common theme for the artist, who creates art from a studio located in the home of the Old Republic Steel Mill, now the Wade Sand and Gravel Quarry.

An advocate of renewable energy, the Birmingham-based artist “[combines] green consciousness with forward thinking and sustainable designs,” she says. “Each piece of artwork fabricated is a functional solar powered sculpture that pays tribute to natureʼs beautiful efficiency.”

Also reflected in Borrowed Light is Morrison’s lifelong love of reading. Says the artist, “It doesn’t matter if you get that knowledge through a book or an electronic format; the process is the same. Anyone who’s willing to go through the front door of a library has access. Borrowed Light is the information you may encounter.”

The majority of my work comes through the RFP (request for proposals) process.  Cities and Percent for the Arts programs around the county send out RFP's for public art projects and I submit ideas based on the scope/vision of the call.  I really enjoy projects that involve the request for innovations in technology and concepts about "looking to the future".  

I work in a very industrial setting that is an amazing work environment for an artist. My studio is in the home of the Old Republic Steel Mill and what is now Wade Sand and Gravel Quarry. When I work with rocks out of the quarry, the limestone is harvested from an area with 600 million years of geological history. I think the process of harvesting the stone brings a certain awareness and perspective to my work. The second element of influence is the backdrop of the old steel mill and buildings that brought in the industrial development of this whole region and has now been made obsolete - Republic Steel closed in the '70s. There is, of course, residue and environmental impact from this period in Birminghamʼs history but at the time, the plant made the most of the known technology at the time by producing by-products from the coke ovens that included gas, tar, light oil, etc. I think itʼs intriguing to think about how technology can continue to answer many of the compelling energy challenges we face today - smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best.
Deedee Morrison, Seed Pod, Chattanooga, Tennessee

I see that you carefully consider the site for each work. How does the location of the work influence your design process?

Every site location has a unique nuance that needs to be understood and creatively explored to make sure that the sculpture is congruent and a fluid expression of the public art project.  Public Art has the wonderful opportunity of communicating the values and cultural identity of a city.

I recently worked on a solar powered light installation, called Seed Podfor the Renaissance Park in Chattanooga, Tennessee.  The park is a 23 acre wetland park created on what was once a manufacturing site. The park effectively demonstrates how a polluted area can be returned to a clean river habitat and natural park setting. The design of the park promoted the return of native plants, enhancing the river ecosystems and provides a wonderful balance between urban renewal and the conservation of natural resources.  

The Seed Pod sculpture works in unison with the objectives of the park. The sculpture is a visual display of the power and energy thatʼs available every day from a single solar panelʼs relationship with the sun. The color scheme of the Seed Pod sculpture mirrors the vibrant yellow hues of the sun. Near the Seed Pod sculpture is the 18ft. solar tower that, like plants, collects and stores the energy released from the sun. The Seed Pod and the solar tower are intimately connected in the phenomena of life and growth. The solar tower captures the energy of the sun during the day and the Seed Pod emits the dramatic stored light at night, giving the sculpture an added dimension.

Any other advice for artists interested in creating art in public places?

Don't give up.  I submit many proposals - even today, when another artist is selected.  You just have to continue to believe in your own work and vision for your work and push ahead.  The greatest satisfaction is to work with city planners, architects and designer on perfecting the concept of your ideas for a public art project, working on the piece for months and then seeing the sculpture installed in it's new home and feel that it was meant to be there.

See Deedee Morrison's new artwork in Oklahoma City at the Southwest Oklahoma City Library, 2201 SW 134th St.

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Morrison soon began taking art classes at night, where she worked with the highly malleable medium of clay. But the pieces of art that really captured her attention were large, looming sculptures that spoke to her artistic sense in a way that small clay pots rarely did.

The Alabama resident made a bold choice and decided to study welding. Morrison learned about the technology of fusing metal, welding as an industrial process and perhaps most importantly, the art of laser cutting metal.

“When I began incorporating these elements into my work, it took on such a whole different dimension,” said Morrison, who recently installed a sculpture titled “Borrowed Light” on the grounds of the Southwest Oklahoma City Public Library.

“Metal is flat and not particularly fluid but when you use a laser, it changes how people view it. In the 10 years I've been working with metal, I've tried to push the limits even more. The use of color can have dramatic effects.”

“Borrowed Light” is 8½ feet high and has five cylindrical columns that create a cloverleaf design. Each of the vertical panels features an intricate laser design that is backed with a bluish green material that creates a perception of depth. At night, LED lighting inside the sculpture causes it to glow.

“I'm an avid reader and a believer that books offer a wonderful way to experience the universe,” Morrison explained. “It doesn't matter if you get that knowledge through a book or an electronic format; the process is the same. Anyone who's willing to go through the front door of a library has access. ‘Borrowed Light' is the information you find.”

Morrison's Alabama studio is housed in a century-old coal testing lab, a reminder of Birmingham's industrial revolution. She's in the process of restoring an adjacent rail car shed which will significantly increase her working space.

Morrison, who has installed sculptures in Washington, Colorado, Louisiana, Alabama and Michigan, typically spends six weeks creating a design concept. A graphic designer then transforms that into a computer-generated drawing and a laser cutter transfers the image onto sheets of metal.

On her website, Morrison states that a sculpture “should incorporate the nuances of the land, the specific environment and/or any unique cultural features that will contextualize the onsite art. Every sculpture I create is designed for durability as well as beauty. (It's) made from industrial grade materials and constructed to withstand inclement weather and real world conditions.”

While many artists are content to send their works of art to a gallery or have assistants deal with the installation of a sculpture, Morrison always tries to be present when one of her pieces of public art is being installed.

“As an artist, it is a wonderful experience to see people's reaction to what you've created,” Morrison said. “The librarians who had seen some renderings of ‘Borrowed Light' felt the drawings didn't do it justice. That's why I do what I do.

“Typically, I will present a seminar about my work that allows me a chance to talk about the message I'm trying to convey. This is a career that is a bit outside of most people's realm so you try to help them understand the process. I tell people that if art is your passion, figure out a way to incorporate it into your life.”

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Morrison soon began taking art classes at night, where she worked with the highly malleable medium of clay. But the pieces of art that really captured her attention were large, looming sculptures that spoke to her artistic sense in a way that small clay pots rarely did.

The Alabama resident made a bold choice and decided to study welding. Morrison learned about the technology of fusing metal, welding as an industrial process and perhaps most importantly, the art of laser cutting metal.

“When I began incorporating these elements into my work, it took on such a whole different dimension,” said Morrison, who recently installed a sculpture titled “Borrowed Light” on the grounds of the Southwest Oklahoma City Public Library.

“Metal is flat and not particularly fluid but when you use a laser, it changes how people view it.”

“Borrowed Light” is 8½ feet high and has five cylindrical columns that create a cloverleaf design. Each of the panels features an intricate laser design that is backed with bluish green lucite that creates a perception of depth. At night, LED lighting inside the sculpture causes it to glow.

“I’m an avid reader and a believer that books offer a wonderful way to experience the universe,” Morrison explained. “It doesn’t matter if you get that knowledge through a book or an electronic format; the process is the same. Anyone who’s willing to go through the front door of a library has access. ‘Borrowed Light’ is the information you find.”

Morrison’s Alabama studio is housed in a century-old coal testing lab, a reminder of Birmingham’s industrial revolution. Morrison, who has installed sculptures in Washington, Colorado, Louisiana, Alabama and Michigan, typically spends six weeks creating a design concept.

A graphic designer then transforms that into a computer-generated drawing and a laser cutter transfers the image onto sheets of metal.

On her website, Morrison states that a sculpture “should incorporate the nuances of the land, the specific environment and/or any unique cultural features that will contextualize the on-site art. Every sculpture I create is designed for durability, as well as beauty.”

While many artists are content to send their works of art to a gallery or have assistants deal with the installation of a sculpture, Morrison always tries to be present when one of her pieces of public art is being installed.

“As an artist, it is a wonderful experience to see people’s reaction to what you’ve created,” Morrison said. “The librarians who had seen some renderings of ‘Borrowed Light’ felt the drawings didn’t do it justice. That’s why I do what I do.

“Typically, I will present a seminar about my work that allows me a chance to talk about the message I’m trying to convey. This is a career that is a bit outside of most people’s realm so you try to help them understand the process.”

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An active one.

“It’s an old Republic Steel Plant that closed down, but it’s got wonderful buildings,” she says.  “Now it’s an operable quarry for road-grade material.”

For an artist, that can lead to some interesting moments. 

“When they blast, some of the stone comes over here,” she says.  “Usually, it crumbles the side of the quarry wall, but sometimes it throws off huge boulders that weigh three- to five-thousand pounds.”

Not many people take much interest in the rocks, but she does.  She’s begun to collect the ones pierced by holes, creating a series of sculptures called “Charms” out of them.  The limestone blocks wrapped in aluminum are now a hot commodity. 

Most of her work, though, is in different kinds of metal, including Corten steel and quarter-inch aluminum.  The challenge lies in how to introduce light to the material.  “The metal is just not very forgiving, with a flat surface to work on, and no light can come through,” she says.  “There’s always a fabrication, with laser cutting or water jet cutting that allows me to cut patterns onto an armature.”

It’s an industrial process of creation, but she believes she’s introducing a feminine influence to a masculine material.  “It creates an interesting balance,” she says.  “It’s hard to move a 5,000-pound rock, and dangle those charms.”

Her work could be read as a metaphor for the de-industrialization of the nation, and as an artistic commentary as well.

“The steel mill shut down and we had to innovate,” she says.  “As an artist I’m always trying to say something about the things we’re attached to and bound to, responsibly and irresponsibly.”

And she’s succeeding.

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Alabama artist Deedee Morrison created the 8-by-12 work of art with inspiration from organic forms, particularly the drawings of Ernst Haeckel, a contemporary of Charles Darwin who was also an artist, biologist, naturalist, philosopher, physician and professor who discovered, described, named and illustrated thousands of new species.

"I try to find things that I can mimic in nature and recreate as art," Morrison said.

An 18-foot solar tower next to the sculpture can store enough energy to light each of the six panels for 14 continuous hours. On a clear, sunny day, three days' worth of sunshine can be captured and stored to power the piece on cloudy days, according to Morrison.

The color scheme of the sculpture when in full "evening bloom" is meant to mirror the vibrant yellow hues of the sun, Morrison said. An after-dark walk around the art reveals reflections of each of the three alternating designs on the curved metal surfaces. 

Creating large-scale works of art out of "masculine" materials such as aluminum, steel and limestone is Morrison's specialty.

"Steel is considered a flat, one-dimensional medium. It is not considered particularly organic because it is not flexible," Morrison said.

Adding nature-inspired designs balances that out.

"The designs in the metal give it a really feminine, delicate component, juxtaposed against the really heavy, very masculine material," she said.

Morrison said the sculpture is also a really beautiful demonstration of the power of the sun and the power of sustainable energy.

Having her work placed in Renaissance Park next to 1.5 acres of wetlands is the perfect place to create opportunities with the public.

"This is really a good setting for the conversation I am trying to create. Hopefully, it will give someone a perspective on why we are here, the origins of life," she said.

Public Art Chattanooga's director, Peggy Townsend, said although Morrison's work was a challenging and complicated installation—being the first solar-powered piece of art in Chattanooga—it also has the potential to be a well-loved piece by the public.

"The park is a beautiful, passive, contemplative place. Her work also lends itself to that. The park is also a sustainable wetlands, so it made a great fit," Townsend said.

"Solar sculptures in the right environment are extremely effective ways to demonstrate how solar energy works and can become an icon of sustainability for a city. The sculpture will be a wonderful addition to Renaissance Park," Morrison said.

“Seed Pod” will be on exhibit for 18 months as part of Public Art Chattanooga's 2012 Biennial Sculpture Exhibition.

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