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Myrtle Brach Garden Room for Children

The Myrtle Beach Garden Room for Children features a number of artwork by Charles Parks and other gifted artists from the Grand Strand region.

Charles Parks also carved Sunflowers to show what it really takes to make flowers grow. Better than water and fertilizer, try seating a child atop the tallest bloom and having that child play the flute to lure the smaller blooms upward.

Rosie Sandifer’s Freedom of Youth captures the flexibility of a young girl who stands on a rope swing, bends over backward and grasps the upper end of the rope.

Edith B. Parsons sculpted the Frog Baby that now stands at the center of a huge pond, not a frog but a human child with a big, wide, frog-like grin. Elsewhere in the garden is Parsons’ Turtle Baby.

Anna Hyatt Huntington’s Deerhounds Playing is in this area. Like her Fighting Stallions, it’s a study in motion and interaction between two muscular animal forms, rendered in excruciating detail.

Marshall Fredericks gives us yet another twist on that old Rodin classic with his version of The Thinker. This one is a monkey with its jubilant gaze directed upward, without question thinking more jubilant thoughts than the original downcast countenance.

Sandy Scott created Eat More Beef long before the Chick-Fil-A commercials urged us to eat more chicken. It’s an enormous bronze pig that from the looks of its facial expression shares a similar motivation for its dietary advice.

Marshall Fredericks gives us Mother and Baby Bear leaning up against each other, back to back, their slumped shoulders and weary postures exuding audible sighs.

Anna Hyatt Huntington continues the bear theme with Brown Bears, a threesome that probably cannot be interpreted as a Mama Bear, Papa Bear, and Baby Bear.

Richard Recchia continues the theme of playing a tune to flowers with Flute Boy. The child, in this case, is seemingly intent on playing to real flowers which, in season, would be daisies.

Nancy Reynolds created Happiness in the form of a small bronze child with its arms semi-extended, perhaps to embrace, to gesture, or a motion associated with a dance.

Ernest Bruce Haswell’s Little Lady of the Sea depicts a girl riding a horse, its hindquarters submerged in marble as if suddenly erupting from the smooth surface of a reflecting pool.

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