A public garden & cultural center

Pedro Cruz-Castro

Call & Response | September 10–December 3, 2017

Pictured above: Decultivated, 2017, metal, plexi-glass, HD foam, wood (tree root), paint, 35 x 48 x 14.5 inches. Courtesy of the artist and Wave Hill. Photo: Stefan Hagen.

Fascinated by the relationship between the natural and built environments, Pedro Cruz-Castro’s recent work pushes the boundaries of these interactions to often humorous and absurd limits, suggesting that daily objects have a hidden life. His sculpture responds to Wave Hill’s landscape of carefully tended lawns with gardens nestled within the city. In his piece, Cruz-Castro shows the way that the city can take over, and man-made structures of steel, concrete, glass, brick and lumber can encroach on the natural landscape.

Sunroom Project Space | April 20–May 25, 2007

Reclamation, installation view, 2017, mixed media, dimensions variable. Courtesy of the artist. Photo: Wave Hill.

Blurring the boundaries between indoors and outdoors, the sunroom provides the perfect setting for Pedro Cruz-Castro’s project, Reclamation, which includes two wood sculptures, a table and a grandfather clock. These sculptures act as a metaphor for the interaction between natural and man-made environments. The table, rustic and simple, is constructed from wood, natural branches and sections of a maple tree. Cruz-Castro breaks down a grandfather clock, restructuring and transforming it, uniting it with the London Plane tree. His exploration of the ambiguity of the structures thus created poses questions about which came first: Have the trees taken root over time in the sunroom, growing up into the furniture, or has the furniture begun to grow roots and branches? The Sunroom Project Space offers Cruz-Castro an opportunity to create site-specific work in a unique setting.



Reclamation, installation view, 2017, mixed media, dimensions variable. Courtesy of the artist. Photo: Wave Hill 

Artist website

The Arts at Wave Hill are supported by the Lily Auchincloss Foundation, Inc.; Michael J. Shannon; Milton and Sally Avery Arts Foundation; the National Endowment for the Arts; New York City Department of Cultural Affairs; New York Community Trust Edward and Sally Van Lier Fund; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; The Pollock-Krasner Foundation; The Shelley & Donald Rubin Foundation; and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.