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

The Sanguine Standing Stone marks a quiet, windswept landmark along Riverside Drive in Dublin, Ohio, where time-worn granite meets modern suburban scenery. Its weathered surface bears mute testimony to ancient craftsmanship, inviting passersby to pause and reflect on the enduring pulse of history coursing through this serene corner of 7125 Riverside Drive.

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.