Cicadas, who must climb trees to exist, have directly influenced Smith’s Exuvia series, which include the three sculptures in Dublin’s Coffman Park. Cicadas molt their exoskeletons, leaving their shells in the trees, something that Smith, a LaGrange, Ky. artist, explores as a physical manifestation of his artistry. The installations were brought to Dublin through Titration2: Park Fiction, the second phase of Dublin Arts Council’s on-loan outdoor sculpture exhibition series, which was installed in Dublin’s Coffman Park in 2008. The Park Fiction theme illustrates the whimsy and human connection to the outdoor recreational spaces in our midst. The exhibition was brought to life through four groupings, each ranging in size from three to more than 50 sculptural elements. Date Installed: 2008

Artist Olga Ziemska’s sculpture takes inspiration from the Coat of Arms of Kosciuszo’s native Poland and finds commonality with Bill Moose, known as the last member of the Indigenous Wyandot Tribe to have lived in Ohio. Feather Point is a 20-foot-tall cast stainless steel sculpture patterned from trees found on the site. Date Installed: 2016

Field of Corn (with Osage Orange Trees) is Dublin Art Council’s third Dublin Art in Public Places program project. The sculpture includes 109 human-sized (6 ft. 3 in. or 1.9 m) tall ears of corn that stand upright in realistic row patterns. The installation symbolizes the history of the community’s farming legacy and serves as a memorial to rural landscapes. The artist first visited the site in July 1993, noting a short row of mature Osage Orange trees, plantings which, at one time, would have extended for miles. The link to the not-so-distant farming past of the site led the artist to propose a field of human-sized ears of corn. After the design was accepted, Cochran learned the site had been occupied and used by the Frantz family. Field of Corn (with Osage Orange Trees) was dedicated Oct. 30, 1994.

Oregon-based artist Don Merkt installed Going, Going…Gone! in Darree Fields at 6259 Cosgray Road in Dublin in September of 2001. The sculpture was never formally dedicated, since the ceremony was originally to have been held on Sept. 11, 2001.



Merkt’s resume is extensive, including numerous public art installations in Portland, Oregon, fine art shows stretching from Los Angeles to New York, and a commission by director Gus Van Sant (Even Cowgirls Get the Blues, Good Will Hunting, Drugstore Cowboy).



Going, Going…Gone! is a bronze sculpture marking the passage of time through the imagery of baseball. The piece consists of a bronze baseball bat striking a symbolic ball. The ball is shaped like an alarm clock and the trajectory of its path is marked by a series of colorful yellow discs emblazoned with the words “Going.” The final disc, located on the tree line, is mounted on a bronze door and is marked by the word “Gone.” The door stands open, inviting visitors to step into the woods to travel the path and gather the thoughts and memories they have let pass away over time. Date Installed: 2001

David Middlebrook is a master of materials, beginning as a ceramic artist and evolving to a broad range of stone, marble and bronze works weighing from 50 lbs. to 50 tons. He has established himself as a specialist in large-scale, site-specific work.



Middlebrook’s Injection is a majestic bronze and stone sculpture that was installed at the pond’s edge near the Dublin Community Recreation Center in Coffman Park as part of the original Titration exhibition series in 2007.



Injection is approximately 6 feet tall and consists of three unique sections, a steel base, followed by basalt, and topped with a bronze cone-shaped piece that completes the sculpture. The large fingerprint that covers the top of the cone is that of the artist. Date Installed: 2007

Leatherlips, Dublin Arts Council’s first Dublin Art in Public Places program project, was created by Boston artist Ralph Helmick. The sculpture, a 12-foot high portrait of the indigenous Wyandot leader Leatherlips was installed in Scioto Park in 1990. The head is a composite structure of various sizes of native limestone stacked and mortared. The sculpture is open on the top and has stacked stones extending back along its sides, creating a small enclosure that enables visitors a view of the river, the sunset and the amphitheater.



Leatherlips was executed in 1810 by fellow tribesmen at a location very near Scioto Park. In fact, Leatherlips’ last hunting camp is said to have been located 2 miles north of Historic Dublin along the banks of the Scioto River near the location of the present-day park. Early histories by the white settlers of the time described Leatherlips as intelligent, dignified and peaceful. Leatherlips — known as Šaʔteyarǫnyes in Wandat, the traditional Wyandot language — gained his English name from white settlers because “his word was as strong as leather.” Date Installed: 1988

Jeppe Hein’s Modified Social Benches are an excellent example of the artist’s exploration of the phenomenon of perception, stemming from his consideration of social space and the way in which the form and context of the sculptures present unlikely or impossible seating structures. His work focuses on problemetizing the traditional relationships between sculpture, viewer and the environment. Hein was born in Copenhagen and now lives and works in Copenhagen and Berlin. His arts education includes the Royal Danish Academy of Arts in Copenhagen and Städelschule, Hochschule für Bildende Künste in Frankfurt. Date Installed: 2008

The Boat in the Field, by internationally aclaimed sculpture, Ilan Averbuch, consists of two intertwined images. One image is of a stone skeletal structure of a boat raised in the air as if frozen in mid flight. The other image is of a skeletal tower made of vertical steel beams covered with a sloping round roof. In juxtaposition these images represent stasis and kinesis, two forces vital to the human condition. Date Installed: 2023

The Simulation of George M. Karrer’s Workshop by artist Brower Hatcher is designed to conjure a memory of Karrer’s blacksmith shop, which once stood on the project’s site in the late 1800s. The stone base signifies the original foundation, while the green and gold wireframe matrix is constructed as if it were a computer simulation depicting the original building. Embedded artifacts overhead represent the activity of the workshop and tools of the trade. The artwork was commissioned in 2010 to celebrate Dublin’s bicentennial, by a jury that included Dublin Historical Society and community representatives. Located at the corner of South High Street and Waterford Drive, the site is the home of the historic Karrer barn, a bank barn built in the late 1870s and listed on the National Register of Historic Places. The sculpture was completed and dedicated in 2011.



George M. Karrer came to Dublin from Germany in the 1850s. He built the barn on the site in 1876 with tools of his own making. He then relocated his blacksmith shop to the property from across the street and also operated platform scales to weigh large wagons for local farmers and merchants from a location next to the building. Karrer ran the farm with the help of his sons, but his primary business was serving the community with his technical craft. The wheelwright stone that he used to fit metal “tread” onto a wooden wagon wheel remained on the property and has now been incorporated into the artwork. Date Installed: 2010

Tree of Life, Future Tense pays homage to the tree as a monument. Columbus artist Mary Jo Bole encapsulates the visualization of time through a bronze cast sculpture that embraces a red oak tree planted within. Branches of the monument contain porcelain photographs of trees swallowing things, a foretelling of the artwork over time beyond the artist’s own lifespan.

Watch House was designed and situated on its site so that it would reveal different aspects of itself slowly as the viewer moves toward the artwork. Artist Todd Slaughter intended the earthen mound and the house as a contemplative space for individuals and small groups, and as a counterpoint to the group activities of the Coffman Recreation Center located on the opposite side of the wooded, Indian Run Stream which runs between the two.



When approaching the Coffman Park Recreation Center entrance from Post Road, visitors first become aware of the twelve foot blacked-copper sphere which rises from behind the rim of the 220’ diameter circle mound.



As visitors approach the circle mound, they realize the spherical dome is perforated with cutouts and sets atop a copper-skinned house which is bridging a gap in the circle mound. The artwork’s reference to a planetarium and a house bridging a prehistoric Indian mound is intended as a celebration of the history and symbol of the future of Dublin. Date Installed: 1998