Taking on Fabrication and Installation in an Outdoor Public Sculpture

Against the Current is a reflective sculptural installation composed of 17 steel fish mounted on rebar, arranged to create visual tension around movement, resistance, social dynamics, and privilege.

On the left, a group of fish swim diagonally upward, symbolizing historically marginalized communities navigating systemic barriers and constantly swimming upstream. The fish are highly reflective, inviting viewers to literally see themselves within the social currents being portrayed.

On the opposite side, a second group moves horizontally from right to left, representing those who have traditionally moved with the current and benefited from structural advantage and positions of power. A few of these fish shift direction to join the upward swimmers, emphasizing choice. This moment highlights the decision to stand in solidarity, resist passivity, or remain comfortable within the flow of privilege.

INSPIRATION

Growing up and studying in central Wisconsin, I was surrounded by a lack of diversity and an abundance of unexamined privilege. While brainstorming for this piece, a classmate who was white, deeply religious, and outspoken went on a rant about how she was not privileged because she was poor, how she would never be a feminist, and how she was not like other girls. Over the course of the year, I watched her consistently seek validation from white male professors while denying that privilege existed at all.

That experience pushed me to question what privilege really is. Is it financial stability. Is it skin color. Or is it the ability to move through life without having to think about your rights, your safety, or your place in society because those battles were already fought by generations before you.

When I created Against the Current, I kept this specific inspiration private. During critique, I focused on the broader themes rather than the personal origin. Typically, this classmate was very vocal, but this time she was silent. It was not a reflective silence, but one that felt defensive, as if the work had exposed something she was not ready to confront.

At the time, I felt conflicted. I later became aware that she had been speaking about my work to other professors, describing it as selfish because it was autobiographical. She expressed the belief that art came easily to me because I had endured hardship, while her own life felt too stable to generate ideas that connected deeply with others. That experience pushed me to reflect on how many young artists struggle with comparison, confidence, and the pressure to produce meaningful concepts before fully understanding their own identities. In academic settings especially, it can be difficult to separate personal insecurity from critique, or to recognize that autobiographical work is not a shortcut, but a vulnerability that requires risk. These growing pains are common, and they often shape how artists learn to see themselves and others.

FIRST INSTALLATION: NOEL FINE ARTS CENTER

The original installation took place in the sculpture yard at the Noel Fine Arts Center at UWSP. The ground was filled with rocks, which allowed me to hammer rebar directly into the earth and mount the steel fish securely. I was invited to keep the piece installed for several weeks during my BFA Showcase exhibition.

Going into the show, I was nervous to hear responses. The Dean expressed interest in keeping the sculpture permanently, noting how well it fit alongside the nearby Natural Resources Building. While I would have loved for it to remain there, I had already applied to the Stevens Point Sculpture Park for a three year loan. A few weeks later, the proposal was approved, and plans for a second installation began.

SECOND INSTALLATION: STEVENS POINT SCULPTURE PARK

Installing Against the Current in the sculpture park required significant adaptation. This version needed to float within the lake. After brainstorming with fabricators and professors, I designed a metal base that could be plunged into the lake floor. I also coated the steel fish with metal finishes to help slow rusting, which was easier said than done.

Once the base was secured, each fish was attached using rivets and hose clamps. While effective, the structure is not as sturdy as I initially hoped. I plan to make small revisions in the spring to ensure its longevity for the remainder of the loan, especially as I am hoping to attend graduate school outside of Wisconsin.

Timelapse video from the Sculpture Park Installation

REFLECTION

I have designed public sculptures before and worked with city officials and fabricators, but this was the first outdoor public sculpture where I was everything at once. I was the designer, fabricator, installer, and problem solver. It was exciting and nerve racking. My biggest concern was safety. Every edge was sanded smooth, welds were reinforced, and stability was carefully considered. The last thing I ever want is for someone to be harmed by my work.

Overall, I am incredibly proud of this sculpture. Visually, it was well received. Conceptually, it stirred discomfort, and that mattered. When I shared the piece on social media, some family members laughed at it, denied the existence of privilege, and distanced themselves from me entirely. Others felt deeply seen and comforted by it.

Looking back, Against the Current was a controversial piece for this region of Wisconsin. The university leans more liberal, while the surrounding community is deeply conservative. Patriarchy, strict religion, and racism still run strong here. Creating and installing this work forced me to reconsider where, and for whom, I want to place future projects. I am still deciding whether I want to intentionally ruffle feathers, or find communities that are ready to engage.