ect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the hu

What do Clearwater, Florida and New Ipswich, New Hampshire have in common?The undeniably attention worthy sculptor, Nina Winters.

The art world’s new and important arrival has been discovered by aesthetic savants for her monumental sculptures.

The internationally collected sculptor has just won a 1/4 million dollar commission in the State of Nevada. The project is for a 10 foot high sculpture titled "Exhilaration".

I had the pleasure of interviewing Nina and getting personal tours through her studios.

This article is the first of three in a series about recent major commissions by the sculptor.

When I asked Nina to tell me about this recent commission, she said, “Although this sculpture is basically minimalist, I have paid a great deal of attention to detail. The reach of the hands into the sky reflects my philosophy that man can be and do far more than what he is led to believe.”

The sculpture will be the centerpiece of a major new 2 billion dollar complex. The development will break ground in June-July 2007.

The sheer scale of her latest work,’ Exhilaration’, and the environment in which it will be installed, are integral elements in creating the visual excitement for the viewer.

During the tour of her beautiful waterside studio in Clearwater, Florida, I asked Nina why she had chosen to work in bronze. She explained, “ I create human emotions, hopes and truths and make them in bronze. I want them to last through time.”

I traveled north and met with Nina in her self-built studio in the woods of New Hampshire, I was intrigued by the ecologically minded sculptor’s commitment to our planet’s and our planet’s peoples’ physical, emotional and spiritual health.

She showed me over 40 sculptures she had created that were ready to be enlarged to monumental proportions.

She spoke easily about her feelings. “Even in my early years, I knew that we had to work together to change the world. I started by trying my hand at building an ecological studio/home in the woods. I built the house with the help of a few friends and still use it in the summers. It’s quite simple to use solar power and we built the house with only a chain saw and lots of work.”

She continued, “As I grew in stature as an artist, I wanted to positively affect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the hum

ut recent major commissions by the sculptor.

When I asked Nina to tell me about this recent commission, she said, “Although this sculpture is basically minimalist, I have paid a great deal of attention to detail. The reach of the hands into the sky reflects my philosophy that man can be and do far more than what he is led to believe.”

The sculpture will be the centerpiece of a major new 2 billion dollar complex. The development will break ground in June-July 2007.

The sheer scale of her latest work,’ Exhilaration’, and the environment in which it will be installed, are integral elements in creating the visual excitement for the viewer.

During the tour of her beautiful waterside studio in Clearwater, Florida, I asked Nina why she had chosen to work in bronze. She explained, “ I create human emotions, hopes and truths and make them in bronze. I want them to last through time.”

I traveled north and met with Nina in her self-built studio in the woods of New Hampshire, I was intrigued by the ecologically minded sculptor’s commitment to our planet’s and our planet’s peoples’ physical, emotional and spiritual health.

She showed me over 40 sculptures she had created that were ready to be enlarged to monumental proportions.

She spoke easily about her feelings. “Even in my early years, I knew that we had to work together to change the world. I started by trying my hand at building an ecological studio/home in the woods. I built the house with the help of a few friends and still use it in the summers. It’s quite simple to use solar power and we built the house with only a chain saw and lots of work.”

She continued, “As I grew in stature as an artist, I wanted to positively affect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the hu

talled, are integral elements in creating the visual excitement for the viewer.

During the tour of her beautiful waterside studio in Clearwater, Florida, I asked Nina why she had chosen to work in bronze. She explained, “ I create human emotions, hopes and truths and make them in bronze. I want them to last through time.”

I traveled north and met with Nina in her self-built studio in the woods of New Hampshire, I was intrigued by the ecologically minded sculptor’s commitment to our planet’s and our planet’s peoples’ physical, emotional and spiritual health.

She showed me over 40 sculptures she had created that were ready to be enlarged to monumental proportions.

She spoke easily about her feelings. “Even in my early years, I knew that we had to work together to change the world. I started by trying my hand at building an ecological studio/home in the woods. I built the house with the help of a few friends and still use it in the summers. It’s quite simple to use solar power and we built the house with only a chain saw and lots of work.”

She continued, “As I grew in stature as an artist, I wanted to positively affect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the hu

>She showed me over 40 sculptures she had created that were ready to be enlarged to monumental proportions.

She spoke easily about her feelings. “Even in my early years, I knew that we had to work together to change the world. I started by trying my hand at building an ecological studio/home in the woods. I built the house with the help of a few friends and still use it in the summers. It’s quite simple to use solar power and we built the house with only a chain saw and lots of work.”

She continued, “As I grew in stature as an artist, I wanted to positively affect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the hu

ect more people. I try to imbue my work with so much emotion that it will flow from me into the bronze and communicate at the other end to the viewer.”

I asked why she decided to make her works large. She replied, “My work was purchased by many collectors, but I still felt the need to make monumental works that would be seen by hundreds of thousands of people. I am thrilled that this is happening.”

Working in her studios is practically an obsession. Her work is large both visually and emotionally. Her sculptures convey the heroic power and excitement of the human potential.

Her clients include corporate officials from Paine Webber, the Wall Street Group and Hiram Walker. Her work is in major collections in the United States, Canada, Mexico, Australia and England and she is in the private collections of many celebrities including musicians, music producers, arrangers and film producers.

Her bronze work was featured in the Paramount film “Kiss the Girls” starring Morgan Freeman and Ashley Judd.

She has been honored with awards for excellence in sculptural concept and design.

All her sculptures can be commissioned in any size and are unique solutions for home, corporate and hotel architecture.

She is also working on a new monumental sculpture in Clearwater that will be installed near her southern studio in a development on the locally loved “Pinellas Trail”, a long fought for bicycling, running and rollerblading trail that connects many of the nearby areas.