
Our Every Day Aphrodite Ayia Napa International Sculpture Park, Cyprus A white marble sculpture titled “Our Everyday Aphrodite” (2019) stands as a simplified, abstract torso atop a cylindrical pedestal. The rounded, smooth form suggests the female figure in a modern interpretation. Set in Ayia Napa International Sculpture Park, Cyprus, the piece is presented against a bright, clear blue sky, creating a serene image that underscores everyday female presence beyond the standards often set by the media.	Broken Frida Temple & Court St. Downtown Nashua, New Hampshire, USA Frida Rota (Brocken Frida), 2008 — a monumental granite figure draped in stone, with intricate lower-carving textures. Nine feet tall, it anchors the Nashua streetscape at Temple St. & Court St., inviting viewers to slow down, explore texture, and reflect on identity and transformation through public sculpture. This piece is part of a series homage to the Mexican artist Frida Kahlo.	Frida Carrying a Marble Player Andres Institute of Art Sculpture Park, Brookline, NH, USA Frida Carrying a Marble Player, 2004 Granite, 9 feet tall Sited at Andres Institute of Art International Sculpture Park, Brookline, New Hampshire, USA A monumental granite figure standing about 9 feet tall, carved with a robust, geometric presence. The central figure appears to be carrying or supporting a secondary, rounded form that evokes a marble player or similar mass, creating a dynamic tension between vertical monumentality and the weight of the load. The sculpture combines a textured, faceted mass with smoother, rounded contours, generating a dialogue between hardness and curvature, mass and metaphor. The image of Frida-bearing or supporting another form invites readings about resilience, memory, and the burdens carried by individuals or cultural icons.	The Way, Saint Andrew Church Front Doors 1999 City of Sumner, Washington State, USA St. Andrew Church Doors Date: 1999 Medium: Wood relief (carved doors) Location: Sumner, Washington, USA Description: A bas-relief multiplane composition in carved wood, depicting Jesus Christ flanked by children within an arch-supported arcade. The work emphasizes invitation, teaching, and protection, rendered with careful attention to drapery, gesture, and architectural rhythm. Context: Public liturgical sculpture integrated into church doors, reinforcing themes of welcome and instruction.	Ganesha 2008 Private Collection, Kirkland, Washington State, USA A stoneware sculpture of the Hindu deity Ganesha, seated cross-legged. One hand holds an axe, another holds a bowl of sweets (modak), which are common attributes in Ganesha iconography. The figure’s iconic elephant head and large ears are clearly rendered, signaling wisdom and auspiciousness. The seated, stabilizing posture suggests contemplation and benevolent activity. The axe implies removal of obstacles, while the bowl of sweets connotes sweetness, prosperity, and blessings.The stoneware sculpture with a dark patina that highlights the musculature, folds of the belly, trunk, and the ornaments. The surface treatment gives a sense of weight and presence, while the smooth, rounded shapes contrast with the angularity of the axe. Setting and atmosphere: Displayed against a bright orange wall, the sculpture stands on a pedestal with dim, reverent lighting. The lighting emphasizes the form and creates a calm, contemplative mood. The sculpture by Tomas Oliva situates this icon in a contemporary or cross-cultural gallery setting, inviting dialogue between traditional iconography and modern materialization.	Full of Hope Kniazhaia Gora Sculpture Park in Kaniv, Ukraine A "rafter" with an inner tube in the middle of nowhere. The reflective surface hints at water. The forms seem to coil and press toward the center, creating a sense of compression suggest resilience, solidarity, and shared burden—hope arising from unity.