Really Creepy Public Art

I ended my last post with the gigantic head of a woman shown on the left-side of this title side, with her index finger lifted to her mouth in a gesture associated with “Shhhh,” which is understood to request silence or quiet, and I mentioned it in reference to a big secret, or secrets, in today’s world that people aren’t supposed to talk about or know about.

I knew about what is called the “Shhh Statue” because I have researched public art in the past, and so with the reminder of it from the subject matter which brought it to mind, I decided to go back and compile those examples of “Really Creepy Public Art.”

Then I will end the post with my thoughts on what might actually be going on here and why we are subjected to it in the first place.

I will start with what is commonly called the “Shhh” Statue.

It is on the Jersey City waterfront directly across the Hudson River from New York City, and was unveiled in October of 2021.

Officially called “Water’s Soul,” it is on private property.

This is what we are told about the story behind the “Shhh Statue:”

It’s a reminder for Jersey City how far it has come from a barren area of abandoned rail-yards which saw much of the trade coming in and out of New York harbor during the 19th- and early 20th-centuries, and reflects the sculptor’s belief in the collective hope for Humanity and to build a better world;

And it also reminds us that water is the great public space that unites and embraces communities as well as people around the world.

Well that sounds great and all that, but do the people who live there really feel that way about it when they can’t help but see an 80-foot, or 24-meter, -high, sculpture that dominates the surrounding view?

How about the disembodied horse’s head on the right of the title slide?

The bronze sculpture of a giant disembodied horses’ head captured as though the horse was drinking called “Horse at Water” was originally installed at the Marble Arch in London in 2011, and sculpted by British artist Nic Fiddian-Green

The original was moved ten-years later to a spot near Hyde Park Corner in May of 2021.

What we are told about “Horse at Water” is that it captures an intimate moment of silence and contemplation.

The same disembodied horse’s head today is located at the Parx Casino and Racetrack entrance in Bensalem, Pennsylvania.

The Parx Casino and Racetrack Complex is the Number One gaming and live thoroughbred racing venue in the region.

Okay, okay ~ I get it!

They seem to be trying to make a connection between the disembodied horse’s head as somehow symbolizing horses in general and therefore perfectly natural to have at the entrance of a thoroughbred horse-racing venue, right?

No matter how they try to spin it, though, the disembodied horse’s head is still perceived as creepy in the public eye.

The Marble Arch Park in London is where the disembodied horse’s head was first displayed, is where the Westminster City Council’s City of Sculpture Programme displays its commissions, on grounds with a small water pool, and fountains.

The Marble Arch is at a junction with very heavy traffic, redirecting cars and people along really important roads, such as Edgware Road, and Oxford Street.

The architect John Nash (b. 1752 – d. 1835) was considered one of the foremost architects of the Regency Era, during the Georgian era from 1714 to 1830.

Nash was credited with designing the Marble Arch in London in 1827, as the state entrance to the ceremonial courtyard of Buckingham Palace.

It is also interesting to note that only members of the royal family and its troop are permitted to pass through the arch in ceremonial processions.

Some of the other sculptures that have been displayed at the Marble Arch Park as part of Westminster’s City of Sculpture Programme include:

Russian artist Dashi Namdakov’s sculpture “She Guardian” was on-display from 2015 until 2016.

“She Guardian” was said to depict a foreboding feline guardian protecting her young, with powerful reared-wings and sharpened claws.”

From what I was able to find, it’s effect on most on-lookers was that it appeared as demonic, “looking ready to devour with its fangs bared and the huge tips of its wings honed into giant spears.”

Danse Gwenedour by Bushra Fakhoury was in the Marble Arch Park in 2017, inspired by a dance performed by French villagers in Pourlet Country in Brittany.

Interesting take on the dancers in the sculpture, with no clothes with either bird-like-heads, or bird-like masks, and not like the dancers in Brittany, who are fully-dressed in their traditional clothing.

In 2016, David Breuer-Weil’s, 20-foot, or six-meter, high bronze sculpture called the “Brothers” was featured next to the Marble Arch, said to represent the joining together of two separate but connected individuals that, in this case, are siblings, joined by the head.

We are told that the “Brothers” statue symbolizes connection, resolution and peace, and the idea that people can connect in ways that were previously unbridgeable.

Here are some examples of David Breuer-Weil’s other sculptures around London.

The sculptor’s stated intention for “Alien” on the top left of a giant body with its legs sticking up in the air and its head and arms buried in the ground was “to evoke the shock of an alien landing in the heart of London and taking everybody by surprise” and that “every new work of art should be like an alien landing, something sudden and unexpected.”

The “Visitor” sculpture pictured in the middle of a half-buried head was envisioned by the sculptor as an island of Humanity, allowing the imagination of the viewer to suggest the presence of the rest of the figure.

And “Visitor 2” on the right of two massive upturned feet was the sculptor’s intent to create an immediate and powerful sensory impact.

It is interesting to note that in the Ottoman Alley of the labyrinth under the Buda Castle in Budapest, the historical castle and palace complex of the Hungarian Kings, there is a crowned head..

To me, this giant head looks more like a petrified head with long-gone eyes, that is covered up to the nose and ears by mud, than an intentional work of art.

Yet this crowned-half-head underneath Buda Castle looks remarkably like the David Breuer-Weil sculpture called the “Visitor” back in London.sculpture called the “Visitor” back in London.

Another thing is that what appears to be sculptures of with giants stuck in or trapped in the ground in some way, shape, or form are all very reminiscent of Seward Johnson’s “Awakening” sculptures, and the same sculpture is found in two places in the United States.

There is one at National Harbor in Oxon Hill, Maryland.

It is a 72-foot, or 22-meter, statue that consists of 5 aluminum pieces buried in the ground in such a way that it gives the impression of a distressed giant attempting to free himself from the ground, with his mouth in mid-scream as he struggles to emerge from the Earth.

There is an identical sculpture in Chesterfield, Missouri.

What Seward Johnson had to say about “The Awakening” was that the sculpture has a place in the universal subconscious – that he woke up, he’s coming to, and God only knows what this means. It’s his awakening. It’s also yours. There might be something bigger than you happening that you’ve got to wake up to.

There was even a duplicate of “The Awakening” that made a limited appearance at the “Grounds for Sculpture” for a Seward Johnson Retrospective a couple of years ago.

Seward Johnson was the grandson of Robert Wood Johnson.

Robert Wood Johnson had joined in partnership with his two brothers – James Wood Johnson and Edward Mead Johnson – in founding Johnson & Johnson in New Brunswick, New Jersey, in 1886, becoming a major manufacturer of sterile surgical supplies, household products, and medical guides.

Seward Johnson was best-known for designing life-size bronze statues that were castings of people that were engaged in day-to-day activities, and he was the founder of the “Grounds for Sculpture” in 1992 in Hamilton,New Jersey, constructed on the location of the former Trenton Speedway, which was at the former New Jersey State Fairgrounds, both of which were closed at the same time in 1980.

Interesting that they would construct a sculpture garden on what would have been a power-node related to the State Fairgrounds and Trenton Speedway.

Seward Johnson also has sculptures on display in Las Vegas, Nevada, including one called “Water Power” and another called “Match Point,”   I have some questions about he actually got his life-size bronze statues to look so life-like!

Next, I am going to bring your attention to a couple of things about the Crystal Bridges Museum of American Art in Bentonville, Arkansas, which was founded by WalMart heiress Alice Walton, and first opened to the public in November of 2011.

Firstly, the museum’s buildings have an unusual appearance.

One could even say they like bugs from above.

As a matter of fact, it is not at all hard to find bug images that resemble the architecture of the Crystal Bridges Museum!

Secondly, the Crystal Bridges Museum is one of many permanent locations around the world for a massive spider sculpture.

These spider sculptures, among the largest in the world, measure up to 30-feet, or 9-meters, – high, and 33-feet, or 10-meters, -wide.

Sculpted by French-American artist Louise Bourgeois,what we are told is that she named her creation “Maman” in honor of her mother, who was a textile weaver, with the spider as a metaphor for spinning, weaving, nurturing and protection.

But does this really come across as a comforting and nurturing figure?

Other permanent locations around the world for this massive and visually-dominating spider sculpture include:

The Tate Modern in London…

…the National Gallery of Canada in Ottawa…

…the Guggenheim Museum in Bilbao, Spain….

…the Mori Art Museum in Tokyo, Japan.

…and the Qatar National Convention Center in Doha, Qatar.

All of the giant spiders sculptures bear a striking resemblance to the giant-spider-like mind flayer from the Netflix show Stranger Things.

Other examples of creepy public art that I know of include:

In Las Vegas there is a small statue of a golden lion with red, jewel-like eyes and seven pink lizards facing it in a circle around it on a median near Sahara Avenue and Decatur Boulevard.

Part of a county art project, it was moved there from its original location at the Decatur and Flamingo Road intersection because the lion was stolen days after it was installed back in 2016, and the lizards, which are also called alligators or crocodiles, were vandalized.

The two headless and feet-less, but otherwise well-muscled, bodies greeting the people who come to the Los Angeles Memorial Coliseum since the 1984 Los Angeles Summer Olympics, one male and one female, by California sculptor Robert Graham.

The trolls at the Bernheim Arboretum and Research Forest south of Louisville, Kentucky, made from recycled wood by Danish artist Thomas Dambo, and which have been on the grounds since 2019.

The sculpture entitled the “Statue of the Resurrection,” said to depict Jesus rising from a crater in the Garden of Gethsemane, as well as the anguish of mankind living under the threat of nuclear war, and is located right behind where the Pope sits in-between what appears to be the fangs of a snake at the Pope Paul VI Audience Hall at the Vatican.

The public art found in Frogner Park, also known as the Vigeland Sculpture Park, in Oslo, Norway, dedicated to the works of Norwegian sculptor Gustav Vigeland.

The centerpiece of the park is his 46-foot, or 14-meter, -high sculpture called “The Monolith.”

“The Monolith” is described as a symbolic sculpture consisting of 121 intertwined human figures, and said to represent the human desire to reach out to the Divine.

The Vigeland Sculpture Park is the largest sculpture park in the world by one artist, with over 200 sculptures by Vigeland.

There are thirty-six sculptural groups situated immediately around “The Monolith.”

The human figures of all of the statues are naked, and the park’s overall theme is said to be the “Human Experience.”

These are just a few examples of these sculptures found in a public setting.

There are many more here, and they are all extremely disturbing.

Like these two naked men and whatever they are doing with small children.

All I had to do to find this place, which I had heard about in the past, was search for “creepy statue in Oslo, Norway.”

In Bern, Switzerland, there is a statue called “The Child Eater.
There are many stories surrounding it as to the meaning of it.

One is that it represents the Greek God Cronus, or the Roman God Saturn, eating his children to thwart a prophecy that he would be overthrown by one of his sons.

Another is that it represents fairy tales like Hansel and Gretel and was built to either frighten disobedient children or keep them away from a dangerous deep ditch in the area.

It is described as part of one of the oldest fountains in Bern, with a construction date of 1546, of a giant eating one baby, with more babies depicted on and around the giant.

In conclusion, I think there was a hostile take-over of the Earth and it’s grid system relatively recently, and that it was reverse-engineered as a mind-control and energy-harvesting system for human energy in an interdimensional war in order to control Humanity, using Humans as their tools against the Creator and Creation. 

Team Dark, parasitic beings with a negative agenda towards Humanity, have been interfering egregiously on Earth, to our extreme detriment and all life on Earth for that matter.

What was Team Dark to do?

They were jealous of Humanity…greedy…and hungry for power.

They wanted to rule over it all, take the wealth for themselves, and control the destiny of Humanity for their own benefit.

But the problem is in a Free Will Zone like Earth, the Human Beings who live here have to give their consent to choose whether the follow the Light or the Dark.

I bring all this up because it is important to know this is what has been going on here.

Humans are inherently sovereign beings.

They have gone to all of this trouble because, by Universal Law, they can’t lay a finger on us.

They have tricked us into accepting their sovereignty and non-human agenda over our own sovereignty and well-being.

So they choose avenues like the examples we have seen here of public art, as well as movies, television, literature, and music, in order to tell us to get our consent.

If we don’t get it and object collectively, then they technically have our tacit consent even if we don’t know we are being told something, and that is what they are counting on.

So, I wonder what are they telling us with all of this really creepy public art?

Is all of this public art some sort of soft disclosure, to circumvent the requirement of needing to tell us what they have done to Humanity, and are doing, without telling us they are telling us?

Putting this artwork in places where people can interact with it and accept it as “Art,” without knowing it is communicating to us something that has been very well-hidden about the world we are living in?

Food for thought.