@kickinson.bsky.social “my local park is full of hundreds of snow sculptures and someone has been adding museum labels”

The labels, standing in the snow at the foot of each creation, are handwritten on what look like index cards supported with two popsicle-style sticks joined together with black tape (possibly electrical tape?). The title, artist, and medium are written with a black marker or felt tip pen, and the body text is written with a gel ink or ballpoint pen, possibly with an 0.5 mm tip.

“SANS TITRE” (2026)

Artist: under pseudonym

An unexpected entrant to the linneage of Richard Serra, this debut from a reclusive local creator aims at a void that signifies precisely the non-being of what it purports, torquing our spatial perception with forms which invite yet withhold, and manipulating the vacuum to contemplate the endless recursion of snow.

“MR WHISKERS”

Artist: Kitty

medium: snow

The scale of this piece deconstructs the epistemic hierarchy between “pet” and “owner” and turns the dialectical “pspspspsps” back onto the human audience in a winking confrontation of “where’s my dinner,” and laying out an assertive meow that will surely reverberate long after the snow melts.

“SOMETIMES A GREAT FROSTY”

Artist: unknown

snow, carrot, twigs

Initially panned by critics as derivative “craft”, a renewed scholarship of snow-centric folk art now heralds this piece as a definitive example of “snowman.” The suggestion of animate performance implicates the view in the making process, and harkens to the perspicuity of childhood, reminding that he came to life one day.

“LADY OF THE FLAKE”

Artist: unknown

medium: snow

In a perceptive exploration of the symbiosis between the body and our emotional resonances, what starts as a swirling hope is soon manipulated into a cacophony of temptation, leaving only a sense of decadence, past eras, and the possibility of pancakes.

“OAKEN EMBRACE” (2026)

Artist: redacted

mixed media

A site-specific piece clearly juxtaposed in dialogue with its surroundings, this work conjurs warmth, growth, and abundance, in tension with the frost of its main medium. With an inherent big-bootied they/them grace, the art holds the tree, signifying support, while emphasizing that without the trunk, the form itself collapses.

“BORRIS” (2026)

Artist: unknown

While working in an occidental context, this overt homage to mysticism critiques the later theories of both Heidegger and Smith, proffering instead a collectivist and neo-post-modern sense of the sublime as the radical path to actualization. As with the sculptor, the identity of the titular Borris remains uncertain, despite intense curatorial speculation.

“NOH K’ÁAX” (2026)

Anonymous local artist

With the title “Heavy Woods” here expressed in Mayan, rather than the traditional local Dutch (Boswijck), this recreation of a prototypical Mesoamerican temple forged kneehigh raises themes of ascension, migration, the fact that square pyramids are cool, and how jungles of historic civilizations hail us through the veil of “present,” snow.

I’m going to be disappointingly uncreative here: A duck, a bear?, two people sitting on a bench with drawing-like faces (ostensibly a man and a woman, the latter with long pine needle hair), and a classical snowman with the leaves of the tree next to it styled as hair