Anthony Howe makes wind-powered metal sculpture. His public-work record includes Octo in Greenville, Lucea I in Dallas and Azlon I in Columbia, Maryland.
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Independent directory profile. Big Art Partners does not claim to represent this artist.
kinetic sculpture, wind sculpture, metal sculpture
Based in
Bow, Washington, United States
Profile
individual
Project participation
Not documented; confirm with the artist, studio or estate.
Research notes for project planning
What the project record tells us
Public streets and districts
Wind work in everyday public settings
Howe’s artist biography lists Octo in Greenville and Lucea I on Elm Street in Dallas among his public sculptures. Those locations make his practice relevant to streets and developed districts as well as sculpture gardens. The portfolio establishes placement history, but it does not provide a transferable installation specification. A buyer considering another wind-driven work should begin with observations of air movement and pedestrian approaches, then request the dimensions of the full moving envelope for the particular design.
How does the full moving envelope relate to the proposed pedestrian route?
Big Art Partners planning prompt
Comparing individual sculpture specifications
Scale must follow the specific design
The gallery identifies Kliptik as a stainless-steel sculpture measuring 116 inches high and weighing 170 pounds, while Sinclair is listed at 178 inches high and 600 pounds. The contrast is useful when developing a shortlist: related visual language does not imply interchangeable foundations, transport or access requirements. For a civic garden or building forecourt, request the current drawing and handling plan for the selected object, and distinguish its static dimensions from the clearance it requires while moving.
Which drawings and handling instructions apply to this exact sculpture?
Big Art Partners planning prompt
Greenville public-art route
A stop within a larger art walk
Greenville’s destination organization includes Howe’s Octo 2 in its public-art guide, placing it alongside murals and other sculpture encountered around the city. This offers a useful model for interpreting a kinetic work as one stop on a walking route. A municipality considering a similar placement can plan the approach, a place to pause and links to nearby artworks. Confirm the exact title and version with the owner before adapting interpretive material; Howe’s own location list abbreviates the Greenville title.
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