Located inside main entrance of the Ferris Library of Technology and Education (FLITE)

Byron J. Brophy was President of the Ferris Institute from 1946 to 1952.

This sculpted bust honoring him was donated by alumni George and Suanne Rapanos. Mr. Rapanos, a graduate of the Ferris College of Pharmacy, notes President Brophy’s “pivotal role” in development of the institution from the Ferris Institute to Ferris State College to Ferris State University on the plaque that adorns the base of the sculpture. The transfer of the Ferris Institute to the State of Michigan, which made Ferris a public institution, was part of a campaign of fiscal responsibility for which President Brophy was well known.

The eyes of the sculpture are surprisingly realistic and together with the broad smile suggest the

gentleness of character often ascribed to President Brophy. Artist James F. Hopfensperger incorporates a

variety of textures both in the face and the clothing, creating a level of detail characteristic of bronze work. The sculpture is displayed in the atrium of the library on Ferris State University’s campus.

Located on the second floor reading room in the Ferris Library for Information Technology and Education (FLITE) Building.

Twelve life-sized human figures move together in the sculptural installation Journey to the Body Collective. With hands above their heads, the figures appear to swim or fly together as a cohesive group.

The artist Mark Chatterley explains his artistic practice: “Everything in a state of flux, changing and reforming. A sense of decay along with life. Nothing is permanent and nothing stays the same. I also try to show thoughts and feelings of the human condition.”

The human bodies in Journey to the Body Collective capture that condition of change, flux, and movement. Each body in this sculpture is made of ceramic with a cratered glaze that creates a rough texture. Designed specifically for display at Ferris State’s Library, we might interpret the upward motion of the figures as an expression of the educational experience, a shared journey toward acquiring a body of human learning. That most human journey is both individual and collective, and it has no limits.

creativity. Irena A. Koukhanova’s sculpture Muse stands adjacent to the Music Center. Three triangular arches surrounding a central form comprise the installation. The centerpiece visually combines a scroll on a stringed

instrument, a musical staff, and a DNA spiral, suggesting a romantic idea that music is part of our hereditary make-up. The site selected for this work is at the crest of a hill that overlooks the Humanities Department, the College of Arts, Sciences, and Education, and the Ferris Library for Information and

Technology. These departments house programs that include language, literature, philosophy, and the arts, all disciplines for which the muses were traditionally believed to have provided divine inspiration.

Arches represent passageways, spaces through which one passes literally or figuratively from one realm to another. These arches may symbolize a transcendental experience. The sculpture’s blue color evokes both the sky and the sea. In this way, perhaps the artist nods to the celestial realm from which such mythological inspiration was thought to emanate

Located in the Dewaine and Jana Robinson Quad

Created in 1993, the World Sculpture celebrates the centennial of the construction of Ferris State University’s main campus and the founding of the College of Pharmacy.

A committee of Ferris stakeholders led by Professor Richard Santer brought this idea into reality with

the help of numerous donors. Professors Mark Curtis and David Murray served as mentors working with welding students to make the sculpture, located on the Robinson Quad. The geodesic globe, measuring 7 ft. in diameter, is formed of interlocking triangles of aluminum. The world’s continents are represented in copper, and the sculpture is mounted on a large stone base. The inspiration for the sculpture came from an 1893 bulletin in which Ferris State University’s founder Woodbridge N. Ferris stated, “The mission of Ferris Industrial School is to make the world better.” As Professor Santer puts it, “that’s the essence of Ferris...

to make the world better.”

If you are standing in front of Bench with Three Deep Seats, please take a seat and a selfie! The artist Lois Teicher created this interactive sculpture for visitors to use. Bench with Three Deep Seats is a functional work that invites people to sit and reflect upon anything and everything that comes to mind. This sculpture is installed near the Department of Humanities offices in Johnson Hall, where contemplative disciplines are studied.

The oversized, trapezoidal bench contains three seats, a number which gives a sense of balance. The dark black hue of the bench helps it to blend in with the environment, including shadows cast by neighboring buildings and trees. As you bring your own thoughts to the bench, you might also share in conversation with companions who join you in a moment of seated reflection.

Located in front of the National Elastomer Center for Plastics & Rubber Technology, Ripples captures the energy of wind on water in the solid medium of stone. Artist Fritz Olsen creates a sense of movement through the bold, curving form that dominates the top of the sculpture. This strong curvilinear form sits upon

and converges into smaller, more subtle ripples, evoking those that move more gently across a body of water.

A rectangular pillar serves as the sculpture’s base, and its stability accentuates even more dramatically the movement of the ripples. The sculpture not only conveys the impression of movement, but it also has the capacity to physically move in space. Bearings beneath the rippled form allow it to be turned from time

to time. Rotating the sculpture creates new points of view and reminds us that nature is constantly in flux. If you look carefully, you will notice that the sculptor carved his name onto the work.

Located between the David L. Eisler and North Hall on Ferris Campus. For many viewers, the Ferris Arch recalls the prehistoric monument of Stonehenge in present-day England. With two upright posts spanned by a horizontal lintel, the sculpture evokes one of humankind’s earliest

architectural forms (post-and-lintel construction), which came before the rounded arch. The artist Kenneth M. Thompson expressed his appreciation for Stonehenge, saying, “I admire the effort it must have taken, as well as the engineering. Some of those stones weigh 10 tons.” Carved of limestone, the Ferris Arch projects a sense of strength and simplicity. Thompson thought the architectural form was meaningful for a college campus: “I also chose the image of the arch, a symbolically strong structure, because it denotes a

doorway, passage or portal, which metaphorically could provide the students of Ferris State University with the entry to a ‘new beginning.’”

A larger-than-life (8.5 ft.) bronze statue of Woodbridge Nathan Ferris, the founder of Ferris State University, stands proudly on FSU’s Robinson Quad as a monument to his many achievements. Inscriptions

on the statue’s 5 ft. tall base honor Mr. Ferris as an “Educator,” “Humanitarian,” and “Statesman.”

Woodbridge Ferris founded the Big Rapids Industrial School, now Ferris State University, in 1884 and went

on to serve as the twenty-eighth Governor of Michigan (1913-1918) and as a United States Senator (1923-

1928). The statue of Mr. Ferris faces southeast toward his hometown of Spencer, New York, so that he looks

optimistically toward the rising sun. A committee of faculty, staff, and students commissioned internationally recognized artist Avard Fairbanks to create the statue as part of the University’s centennial celebration. Fairbanks was both an artist and a scientist, earning a Master of Fine Arts from the University of Washington and a Ph.D. in Anatomy from the University of Michigan. He sculpted images of many leaders during his artistic career, including President Abraham Lincoln, a role model whom Woodbridge Ferris also admired.

The sculpture interprets the symbiosis between the practice of art and the study of science in the way it combines materials. Two steel pillars rise from a base of curved steel, and nestled between the pillars is the textured and translucent glass that creates a juxtaposition between the nature of the steel and the nature of

the glass. The steel suggests the testable, systematic practices of the rational sciences, while the glass suggests the more malleable studies that make up the arts and humanities including reflective thought, visual aesthetics, musical compositions, and the written word. While the arts and sciences may seem very separate, they reflect one another through the implementation of identical foundational tenets: observation, theory, experimentation, and replicability. In merging the arts and sciences, this sculpture— along with its soaring verticality and shape—also evokes the spirit of a modern-day obelisk.

Located inside the Atrium of Arts and Sciences Commons, The story of Ferris State University is vividly told on three large painted panels of an artwork called The Visionary. In the largest panel at center, artist Robert

Barnum depicts Woodbridge Ferris, the founder of the University, as a large and determined figure holding a book. People pursuing various academic disciplines and careers surround Mr. Ferris in a swirling curve. The left panel represents people who shaped Ferris State’s path, including President Bill Sederburg, administrators, and faculty. The right panel depicts students participating in activities that energize the University, such as sports, theater, and band. The guiding words of Woodbridge Ferris appear on a scroll in the

central panel: “The Ferris Institute is thoroughly democratic. It is a school for

all people, regardless of race or station.” In the book Haste to Rise: A Remarkable Experience of Black Education During Jim Crow (2020), David Pilgrim notes that this painting does not fully explore

the stories of people of color that are important to the history of Ferris State University. In response, Pilgrim commissioned Diane Cleland to paint portraits of Gideon Smith, Frank M. Roberts, and other African American people who attended the Ferris Institute in the early twentieth century. Cleland’s portraits are in the collections of the Jim Crow Museum.

Three figures emerge from pillars in this sculptural group; their human forms materialize as the concrete

that encases them seems to erode or be carved away. When he created Dimensional Learning for the courtyard of the Arts and Sciences Commons, artist Barron Naegel was inspired by the configuration

of educational buildings. He said, “My sculpture is very site-specific and organic. The three forms loosely

represent the three buildings and the union of art and science.” Dimensional Learning suggests a

process of emergence through critical thinking and the acquisition of knowledge. Our educational journeys

often transform us. The sculptural group reflects this idea, as well as the personal growth and independence

we gain through education.

Located inside Williams Auditorium entryway, Practical Academe was the first piece in the Ferris Presidential Art Collection. It is a playful collage of painted aluminum forms representing the seven academic colleges at Ferris State University in 1996. The title is a nod to the practical programs that have been a trademark at Ferris. Artist Daniel Roache uses both positive and negative space to create images of people at work in their academic fields. If you look closely, you will see a person reading a book, a person looking though a microscope, a person holding a test tube, and another

person turning a wrench. As Roaches describes, “shapes and subject matter are defined not just by what is there but also by what is not there in those voids between pieces.” Roache explains some of his material is recycled and that the metal pieces “had former lives as stop signs and storm doors.” He is clear, however, that he creates meaning in the new composition of forms.

The colorful mosaic at the entrance of the Big Rapids Community Library (BRCL) is the result of a collaboration between Artworks, Festival of the Arts, and the larger community. Artworks held a competition for designs and selected this three-paneled design by artist Sheila Geglio. She created the

center panel in 2016 with help from local children in Artworks’ summer camp. This panel features a large tree reading a book entitled Grow, illustrating the theme of growing through reading and learning. Next, during the 2017 Festival of the Arts, community volunteers helped fill in the woodland creatures who are pictured listening to the wise old tree. The panel on the left depicts a pond with a turtle, fish, and dragonfly. The panel on the right shows a rabbit, heron, and squirrel listening attentively to the story. The whimsical mosaic in which

many figures enjoy the wonders of reading fits its location at the library, where so many community members enjoy the magic of books.

This bronze statue is the central feature of the Anna Howard Shaw Memorial Park adjacent to the Big

Rapids Community Library. Born in England, Anna Howard Shaw grew up

in Mecosta County’s Green Township. She became a national figure as a minister, physician, orator, and leader

of the women’s suffrage movement. A strong advocate for women’s right to vote, she was entered into the

Michigan Women’s Hall of Fame in 1983 and into the National Women’s Hall of Fame in 2000.

In this statue, Anna Howard Shaw looks forward with determination. She holds a book in her left hand, perhaps

representing her scholarship and professionalism. She reaches forward with her right hand, suggesting the

great sense of humanity and selflessness that she showed throughout her life as she advocated for the rights of women. The statue was the result of a collaboration between Renée Radell (painter) and Lloyd Radell (sculptor) whose intent was “to capture her energy, enthusiasm, dedication to high principles.”

The Guardians mural bursts with color and energy along Michigan Avenue in downtown Big Rapids.

Artist Emma Daisy created this vibrant wall painting, which measures 16 ft. tall by 40 ft. long, to show the power of plants, animals, and women. The Guardians depicted here are three goddess figures.

On the left, we see the Protector holding up the palm of her hand in defense. The Watcher stands at

the center and peers from behind a flower. On the right is the Keeper beckoning woodland creatures with

her hand. These three figures guard a natural landscape that includes an owl, a fox, a deer, and other familiar

fauna of this region. The artist sees the painting as “a reflection of beauty, possibility, growth and a reminder of mother earth and all she offers.”

Festival of the Arts commissioned The Guardians for installation in 2020. The artist’s use of bright

colors amid black and white design impressed the selection committee.

The mural adds dimension and vibrancy to the large brick wall in the heart of historic downtown.

Czechoslovakian born Canadian artist John Kuna created this mural using photographs from the Big Rapids city archives. The logging industry was integral in the development of Big Rapids as a city. The composition of this painting is photographic in nature with all the figures facing forward, as if looking at a camera. The mural’s location on M-20 at the main intersection of historic Big Rapids makes it a highly visible piece. Measuring 12 ft. by 64 ft., the mural consists of 24 panels (each 4 ft. by 8 ft.). The colors used in this work

complement the brick of the historic building upon which it is mounted. The mural is perhaps best viewed in late afternoon when the sun illuminates the vibrant purples, blues, and reds. Kuna writes, “I find that the best examples of mural art are those which go beyond the act of simply placing an image onto a canvas of public space. The function of a good mural should be as much about transformation of its locale

as it is about the depiction of an image or an idea… It can create dialogue between ideas and people and places.” This piece has created critical dialogue in the community, specifically around the omission of African American people and people of color in the photographic archives upon which this rendering of Big Rapids history was created.

According to Japanese tradition, the koi fish represents good luck, good fortune, and perseverance.

Kohaku—the title of this sculpture— is the Japanese word that refers to a variety of ornamental koi fish first

cultivated from wild carp in Japan. Artists Julie McDonough and Scott Brazeau collaborated to create this

sculpture of a koi. Brazeau created the steel frame, which McDonough then covered with vivid glass scales

affixed with rare-earth magnets (strong magnets composed of alloys of rare-earth elements). Displayed

above the rear entrance of the Artworks building, the fish twists

its tail and appears to swim upward. The translucent orange, white, and clear glass panels shimmer in the

daylight, much like the scales of a fish. The artists entered Kohaku in the 2010 ArtPrize competition in

Grand Rapids. In 2013, Big Rapids Festival of the Arts purchased the sculpture and gave it to the city.

The mural Big Rapids is a whimsical celebration of life in our city. Artist Daniel Cascardo painted this piece

at Artworks during Festival of the Arts 2016. For inspiration, he invited residents to tell him stories

about Big Rapids and to suggest what they perceived to be icons of this area. Cascardo painted the

expressive black outlines of the entire mural in one day. Big Rapids residents were then invited to help

paint the bright colors, making this a true community effort.A painted car, bicycle, and running

horses invite your eyes to travel through the painting in many directions. A sense of motion carries you from familiar sights such as the Muskegon River to the antique water fountain downtown

to Ferris State University. Along the way, you can visit the statues of Woodbridge Ferris and Anna

Howard Shaw, as well as the city’s water tower. This mural has become a popular backdrop for selfies and group photographs.

We invite you to take photos here!

The Celebration Pavilion creates a sanctuary in harmony with nature in Mitchell

Creek Park. An 11 ft. tall dome constructed of aluminum panels forms the

gazebo’s canopy. Looking up at the dome’s imagery, you will see familiar sights.

The wavy line around the dome’s base represents the Muskegon River and its

many inhabitants, including turtles, herons, geese, fish, and deer. The sinuous

line above this depicts the Riverwalk, with children, joggers, and fishermen

enjoying the space. Trees—with their dense network of branches and full of birds

and other wildlife—unify the design. A quote from Mother Teresa runs around

the dome’s base on the inside: “I alone cannot change the world, but I can cast a

stone across the waters to create many ripples.”

Artists Marlies Manning and David Murray (a professor at Ferris State University)

created our gazebo. They worked together with 150 FSU welding students to

make this structure over the course of two years. While you can see the dome’s

gleam from various locations, standing under its canopy creates a sense of inclusion as you become part of the habitat along the river, where people and nature coexist peacefully.

Crafted of bent steel, Contemplation depicts a dynamic woman and man looking upward.

Facing the sculpture from Michigan Avenue, you see the woman on the left and the man on the right.

With energetic arms, the couple reaches up to touch birds that flap outstretched wings. Botanical

forms are cut into the figures to create images in negative space. The leaf and stem shapes help to

connect the human figures with their natural environment outdoors. Robert Barnum, Professor of Art at

Ferris State University, designed this work of art, and Professor David Murray and students in

FSU’s welding program fabricated it. The Big Rapids Festival of the Arts Committee commissioned

and presented the sculpture to the community in 2008.

A bronze bust of Major General Ben Hebard Fuller sits atop a pedestal located at Holland Park-Veterans and Homefront Heroes Memorial Park on State Street in Big Rapids. Major General Fuller was born in Big Rapids, Michigan in 1870. He graduated from the United States Naval Academy in 1889 and had a distinguished military career with both the Navy and the United States Marines. From 1930-1934, he served as the 15th Commandant of the United States Marine Corps, the top-ranking Marine in the nation. Led by teacher and veteran Mark Brejcha, the local chapter of the American Legion researched General Fuller and commissioned

artist Gwendolyn Mallett to create the portrait sculpture. Installed in 2021, the bust depicts the likeness

of General Fuller in uniform. He turns slightly with an engaging look of determination. The American

Legion provided the inscription for the pedestal, which traces Fuller’s military career and lists his medals

and decorations. The Harry K. Kunzie American Legion Post 98 sponsored the monument, together with community members who are recognized by donation bricks at the site.

Vertical Waves rises over 12.5 ft. tall to abstractly represent the waves of the Muskegon River. A central steel rod supports carved pieces of cedarwood that undulate like waves of water. Artist Lee Brown designed the sculpture specifically for its location in Hemlock Park, where it is displayed alongside the flowing waters of the

Muskegon River. Brown charred and sealed the cedar to create an interesting texture and to protect the wood from the outdoor elements. A resident of Whitehall, Michigan, Brown explains, “the driving force in my work is the power of symbols and raw shape to communicate feelings. I’m seeking to combine a strong sense of history, spirituality, powerful design, and an appreciation for the materials.” The Festival of the Arts committee selected this work of art from several submissions and gave it to the city.

A shiny aluminum sculpture of a man and a woman paddling a canoe rises above the Big Rapids Riverwalk.

The abstract figures in the canoe lean forward and paddle with a sense of energy that reflects the

movement of the nearby Muskegon River. Artist Robert Barnum worked with students in FSU’s Welding

Engineering Technology Program to create this large-scale sculpture. Barnum said, “[the] sculpture is

dedicated to the river that flows through Big Rapids. This moving force of nature is not only a thing of

beauty but is a powerful force that impacts the lives of all who visit or live here.” The canoe is supported

by a tall pillar of corten steel, which is embellished with a cutout design of plant forms that echo the outdoor

environment. The sculpture honors Jack and Susan Batdorff, longtime supporters of the arts in Big Rapids.

As you walk along the bridge of the Riverwalk, you will encounter the metal sculpture Black Bear. Inspired by black bears, which are native to Michigan, artist Ivan Iler created this sculpture with a steel framework and aluminum plating. From the bridge you can observe the bear close-up, as it sits on a high perch atop a tall steel tree. Interestingly, the bear’s position changes as you observe it from different locations. When viewed from the walking bridge, the bear appears to stare the onlooker in the face. When observed from farther away, the bear appears to gaze into the distance, down river. Iler often represents the natural world in his art. He says, “Most of my work are things that are tangible, things you can see.” Festival of the Arts commissioned Black Bear for installation at this site in 2019.

The principal feature of this abstract sculpture is an orange curved surface, which is supported

by three slender brown poles. The curvature of the central piece suggests the movement of the waves of Lake Michigan. A native of Iowa, the artist Tristan Sisbach was inspired by her first view of the Great Lakes. When Sisbach visited Lake Michigan, she was in awe of the colors, textures, and movement of the lake, as well as the surrounding dunes, driftwood, and beach grass. She said, “I want people to be inspired by the elements and movement of the sculpture. It’s about the idea of motion and color. I wanted to showcase how beautiful

Michigan and the Great Lakes are.” The title Breathe also evokes ideas of rest and mindfulness appropriate for the sculpture’s location along the river’s edge and entrance to the walking trail.

The installation Petroglyphs pops with electric color filling the 69 window openings of the historic Simonds International Building. Metro Detroit-based artist Joey Salamon created a panel for each window with sharp-edged, geometric compositions painted in a rainbow of colors. Each panel is unique, offering a variation on a theme. The paintings create a gallery effect when viewed together on the building. Noting the overall impact of his installation, Salamon said, “I think it’s more interesting when you drive past because there’s a lot to take in.” The Simonds Building is a historic structure that was originally home to the Pine Shop in the 1870s, which functioned as space for furniture construction. The building is now used as a storage facility. The Festival of the Arts committee saw the boarded windows as an opportunity for public art. The juxtaposition of Salamon’s colorful, abstract paintings with the much older architecture creates a contrast that keeps calling for one more look.