Tucson’s Parasol Project can chalk up another first with its creation of the Tucson Sculpture Festival.  

The diverse arts organization, whose mission is to build unity through creative expression, is taking the reins of the inaugural event and the group’s Danny Wolverton is leading the charge. 

Last summer, Wolverton saw a need within Tucson's community of sculptors to have a venue to collectively showcase their talented work. As a result, a collaborative effort has come to fruition. 

The first Tucson Sculpture Festival will be held between February 6-13, 10 a.m. to 6.p.m. each day, in concert with the internationally renowned Tucson Gem and Mineral Show.

"What better time to showcase the talent of the Old Pueblo to an international community of collectors?" Wolverton rhetorically asks.

The week-long festival kicks off on Saturday, February 6 with an opening celebration from 4 p.m. until midnight, starting at the Mat Bevel Institute and the Sculpture Resource Center. 

Mingle with the sculptors in their studios, partake of food and beverages from multiple vendors and enjoy live music and theatrical performances. A $3 donation is suggested but not required. 

Taking place throughout the Downtown Arts Warehouse District, the festival’s focal point is at Stone Avenue and Sixth Street. It radiates out from there in all directions. A veritable village of creativity, it is unarguably the axis of art downtown.

"Tucson is home to an eclectic array of sculptors,” Wolverton said, “and the festival is an opportunity to unite and celebrate this incredible part of Tucson culture."

The event promises to be wondrous with 29 artists displaying well over one hundred sculptures and art, and all pieces are for sale.

Festival venues include: BICAS, 44 W. 6th St., Mat Bevel Institute/Museum of Kinetic Art, 520 N. Stone Ave., Sculpture Resource Center, 640 N. Stone Ave., Solar Culture Gallery, 31 E. Toole Ave.

For more information call 520-437-7716 or email info@parasolproject.com.

Download this event to my iCal Calendar. 

This article appears in the February 2010 issue of Zocalo.