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religion at The Citadel and Duke University before serving a stint in the U.S. Navy. Following his service duty, he returned to N.C. State a^d East Carolina University, majoring in product design and doing sculpture on his own. “I’d always been interested in art but I couldn’t justify aiming for a career as an artist. It seemed like the heighth of egotism.” he said. But at the universities, he met instructors “who made me understand I could do what I felt was important, not what others told me was important.”
An art instructor at ODU for 20 years, he was recently named chairman of the department.
Pickett’s urban sculptures wed art and architecture. He sees the giant pieces as expressions of his intuitive feelings about “relationships... the internal relationships of parts, of things, of placement and size.”
He works some with wood and plastic but primarily in metal. Pickett’s creations celebrate form over function, filling lobbies and halls with gleaming stainless steel that excites the emotions and challenges the mind but serves no “practical” purpose.
He has a 30-foot high sculpture in the Chesterfield Mall in St. Louis, Missouri, an undulating figure eight ring of stainless steel with extending rays that alternately capture and reflect light. Pickett’s linear sphere, an explosion of light and line with rays of steel built around center rings, hangs at the Hanes Mall in Winston-Salem, North Carolina.
His untitled piece at the Chrysley Museum in Norfolk relies in the intersection of a cylindrical mass by two warped planes to create the illusion of motion and energy. Another untitled work in the garden of the Kauffman
Engineering Building on the ODU campus slices skyward, a seven foot high spear of balance.
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