Sculpture Garden by Patrick Pierce

From Oregon to Massachusetts to Maine, and stops along the way, Patrick Pierce has followed the path of art wherever it leads.
Following the New England Yankee ethos: "Use it up, wear it out, make do, do without," he redeems neglected castoffs from our materialistic culture.
“When things come together and you know it’s right, it’s an affirmation that no one can touch,” he says. 
Living in downtown Lowell for 13 years shaped his work. “Lowell, the city itself, was the remains of an industrial revolution engine to manufacture woolens, and that energy was still there even though the engine was long gone.” 
Parts of bridges, industrial detritus from dead factories, copper, iron, bronze from abandoned mills is his palette. "I am a synthesist. I like to take things falling apart that are headed for oblivion and reassemble them like a poem,” said Pierce, who studied poetry at Trinity College and struck out for New York in the freewheeling ‘60s. His love of nature and urbanity is evident in his sometimes brutish, yet engaging work. 
Chainsaws, gouges, chisels, mallets, saws and hammers passed down from earlier generations are his tools. Arc welder and grinders too. "The fewer power tools the better," he says, bending metal around trees and rocks. He interacts with materials with “as little between it and me as I can get away with." 
Always on the hunt for that which is rejected and overlooked to liberate the beauty that still exists. ”
The practice of art is a defense against meaninglessness in a highly contentious world.” 
- by Kathleen Pierce