John B. Mors


 Take of Tour of the
2000 Sculpture on the Grounds

You are invited to take a self-guided tour of six sculptures displayed on the grounds of Rockville’s Civic Center Park located at Baltimore Road and Edmonston Drive. The artwork is part of the 2000 Sculpture on the Grounds display, a temporary exhibition on loan to the City of Rockville. The exhibit represents various styles and media and will be on display through October, 2000.

Programs for self-guided tours, which include artists’ statements, biographical information, and site locations, are available on the first floor of Glenview Mansion at Rockville Civic Center Park.

This temporary exhibit is part of the Art In Public Places Program and is sponsored by the Recreation and Parks Department.

John Mors

Arlington, Va.

Artist's Statement
Making sculpture based on house forms is a natural approach to art for me. Although I have never worked as an architect, my training in the profession defines the way that I structure knowledge and perceive the world. Producing art based on architecture combines a love of materials with my knowledge of structural engineering, anthropology, and art.


House, Boisa Island, New Guinea

The motif for the sculpture is the form of housing found on Boisa Island, a small island situated off the coast of New Guinea, which receives fresh water from the Sepik River as it flows into the Bismark Sea.

The emphasis for this sculpture is engineering structure. The cantilever of the roof is one third of the span, this being the most efficient. The columns and main roof beams form a portal frame.




Keyhole Window - Positive Form
Keyhole Window - Negative Form


In a small-scale culture, a child knows a mask is actually the spirit that it represents. At each stage of initiation into manhood, progressively more knowledge is gained about the mask. However, it never becomes purely a mask, not even to its maker.

My sculptures derive from this concept of levels of knowledge. The person aware of the subject matter (often identified by the title) may think that he knows the object’s significance. However, as always, it is only the maker of the mask who knows the truth or otherwise of the piece. For it is he who knows what is revealed and what is withheld.

The “Anasazi Details” sculptures are derived from this concept of levels of knowledge. Although to the uninitiated, they appear as abstract forms; they are in fact, derived from Anasazi architecture, or more correctly, details of architectural forms.


  • Year 2000, Around the Garden Sculpture Show, Brookside Gardens, Wheaton, Md.
  • Sculpture Now ’99, Washington, D.C.
  • 2001 Exhibition, Museum of The American Architectural Foundation, Washington, D.C.

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