André Heller’s *The Gate* is an intricate and symbolic entrance to his garden, inspired by Ghiberti’s *Gates of Paradise*. The gate represents duality—night and day—through celestial and earthly motifs, inviting visitors to embrace curiosity and childlike wonder. A serpent encircling the gate references the Garden of Eden, reinforcing themes of transformation and temptation. More than a boundary, *The Gate* is a portal into Heller’s dream world, where preconceptions are left behind. Heller’s career spans music, film, literature, and immersive art, including his influential interactive art park *Luna Luna*.

Valdés’ *Mariposas* is a mesmerizing sculpture that greets visitors with a cascade of butterflies surrounding a female figure. Inspired by a real-life encounter in Central Park, the work blurs the lines between tangible and ephemeral. The reflective surfaces integrate the surrounding garden, creating an ever-changing display of light and color. Valdés masterfully juxtaposes movement and stillness, emphasizing transformation.

Namdakov’s *Tibetan Flags* installation consists of colorful prayer flags traditionally found in Himalayan landscapes. Imbued with Buddhist symbolism, each flag carries sutras (sacred texts) meant to spread blessings with the wind. The five colors represent the elements—earth, water, fire, air, and space—embodying harmony. By incorporating these flags into the garden, Namdakov transforms the space into a site of spiritual reflection.

This reclining Buddha sculpture represents *parinirvana*—the ultimate state of enlightenment after death. In Buddhist teachings, those who attain nirvana escape the cycle of rebirth, entering eternal peace. Traditionally depicted among disciples, this Buddha instead lies amidst nature and sculptures, symbolizing the union of art, spirituality, and the natural world.

Haring’s *Dog* is an iconic pop-art sculpture bursting with energy and symbolism. While its vibrant red and dynamic posture exude playfulness, the work also critiques power and authority. Inspired by Egyptian mythology, particularly Anubis, it challenges perceptions of obedience and resistance. As a queer artist and activist, Haring infused his art with messages of social justice, particularly for marginalized communities.

Hirt’s interpretation of *Ganesha* blends traditional Hindu iconography with his own artistic vision. Deviating from typical depictions, his Ganesha holds a pig instead of a lotus, inviting deeper interpretation. The sculpture’s details—such as the small monkey-like mouse at its feet—enrich its symbolism, reinforcing themes of wisdom, enlightenment, and overcoming adversity.

This trio of avian sculptures—a vulture, owl, and eagle—embody political and philosophical themes. The birds symbolize opportunism, wisdom, and power, forming a modern allegory akin to Japan’s “See No Evil” monkeys. The work critiques political structures and human nature while seamlessly blending into the lush garden surroundings.

"House of the Warrior," a white wooden structure resembling a beehive, hides a miniature warrior within. Perched on stilts, its rudimentary holes invite closer inspection, revealing his solitary presence. His isolation sparks narrative: deserted, or awaiting comrades? The viewer decides his fate. Though seemingly hastily built, like Everest temples, its simple form belies resilience. The white exterior, reminiscent of Eastern purity, enhances this connection. Set in the lush Heller garden, the house invites imaginative contemplation, blending fragility and strength, solitude and resilience.

Renoir’s *Washerwoman* is one of his most significant sculptures, depicting a working-class figure engaged in everyday labor. Despite its imposing form, the piece radiates a sense of peace and dignity. Renoir, suffering from arthritis, collaborated with sculptor Richard Guino to bring this vision to life, reaffirming his artistic dedication even in his final years.

Tschirtner’s *Head-Footer* sculpture embodies his minimalist, surrealist style. Created in a psychiatric hospital, the elongated figure is at once alien and human, reflecting the artist’s isolated existence. Its simplistic, continuous black line mirrors Tschirtner’s drawings, reinforcing themes of solitude and detachment.

Fuga’s whimsical ceramic figures evoke joy and contemplation. Scattered throughout the garden, they appear mid-leap or deep in thought. Their varied expressions reflect the spectrum of human emotion, encouraging viewers to explore their own interpretations.

Heller Garden's koi carp hide in deep ponds, contrasting with a dramatic sculpture: two anglers struggle with an enormous fish. The fish, impaled by a giant hook, writhes in pain, its size fantastical, possibly referencing the "Akugyo" myth. The scene echoes Japanese art, where fishing is both practical and symbolic. Japan's climate and island status fostered fishing, evidenced by ancient harpoon-like hooks. The sculpture captures the tension between man and nature, blending myth and historical fishing practices into a visually striking tableau.

This seated Buddha in *padmasana* (lotus position) embodies meditation and enlightenment. His calm demeanor reflects Buddhist ideals of inner peace and mindfulness. The sculpture’s placement within the lush garden transforms the space into a meditative retreat, inviting visitors to pause and reflect.

Lichtenstein’s *Pyramids* blends pop art with minimalism, transforming an ancient symbol into a two-dimensional, comic book-inspired design. The work reflects his exploration of perspective and his interest in blending popular culture with high art.

Heller’s *Bridge of Monsters* embodies the absurdity of human intolerance through two grotesque, water-spitting heads, believed to resemble the Devil and the former Bishop of Vienna These dueling figures atop the bridge challenge visitors to confront fear and take risks. The bridge itself is a metaphor for bravery, symbolizing the transition from certainty to the unknown. The playful yet thought-provoking installation urges guests to step beyond their comfort zones.

Perched among hydrangeas, Schmögner’s golden bronze sculpture embodies mystery and transformation. As the seasons change, it alternates between being hidden and revealed. Its solemn, military-like presence suggests both protection and surveillance, creating an interplay of playfulness and latent danger. The piece seamlessly blends into nature, reinforcing the artist’s fascination with ambiguity and the unseen.

The *Torii* gate in the garden signifies a transition from the mundane to the sacred, mirroring traditional Japanese Shinto gates marking temple entrances. Its bold vermillion color contrasts with the surrounding bamboo, symbolizing vitality and spiritual protection. By placing a *Torii* within the Heller Garden, the space is elevated to a contemplative sanctuary, blending Eastern and Western philosophies of nature and transcendence.

Deok’s *Anguish 303* depicts a figure cowering in distress, composed entirely of welded chains. The material symbolizes both strength and confinement, reflecting the struggles of modern existence. The faceless form invites viewers to project their own emotions onto the piece.

Haring’s *Totem* explores universal human connection through a towering, minimalist structure. Reflecting indigenous and ancient artistic traditions, the figures on the sculpture interlock in a continuous embrace, symbolizing unity. Created near the end of Haring’s life, the work embodies themes of mortality, resilience, and the power of collective strength.

Schmögner’s *Terracotta Face* explores the tension between the natural and the artificial. Hidden within the garden, its mask-like appearance is both welcoming and unsettling, questioning perception. The sculpture’s primitive design, surreal facial features, and heraldic shield-like form create a dialogue between ancient traditions and modern surrealism.

Hirt’s youthful *Pan* stands in a playful yet seductive pose, referencing Greek and Roman mythology. Traditionally associated with fertility and wilderness, Pan’s presence in the garden celebrates the untamed beauty of nature. The sculpture evokes both ancient myths and modern interpretations, including *Peter Pan*, linking eternal youth with the spirit of mischief.

Medusa's marble head, adorned with snakes, gazes unflinchingly. Once a beautiful mortal, she was cursed by Athena, transforming her into a solitary, stone-turning monster. Her "gorgoneion" evolved from grotesque to beautiful, symbolizing protection and power. Perseus famously beheaded her, using her head as a symbol of victory. In the Heller Garden, the weathered Medusa blends with her surroundings, prompting reflection on ancient myths and their enduring influence. Her presence, once a symbol of fear, now invites contemplation.

Rodin’s *The Inner Voice* is a dynamic yet introspective sculpture, capturing movement and emotion through its twisted form. Originally part of *The Gates of Hell*, the work represents meditation and inner struggle. Rodin’s decision to leave it unfinished adds to its philosophical depth, inviting viewers to complete its meaning.

Paladino’s *The Witness* is a mysterious sculpture depicting a figure entwined with two serpentine creatures. The figure’s anxious expression suggests a moment of tension—whether the snakes are protectors or threats remains ambiguous. Inspired by classical mythology, particularly the tale of Hercules and the serpents, Paladino reinterprets ancient themes through a contemporary lens. The smooth, pale limestone gives the work a two-dimensional quality, enhancing its dreamlike atmosphere.

These striking red scarecrows, with abstracted bird-like forms, create a lyrical, almost musical presence in the garden. *Shishi Odoshi*—bamboo water fountains used in Japanese gardens—are also present, producing rhythmic sounds meant to startle animals while fostering tranquility. Together, the sculptures and water elements merge function with aesthetics, reinforcing themes of balance and harmony.

Levi’s surreal sculpture depicts a giant fish with human figures inside its belly—one side showing them resting, the other revealing their skeletal remains. This duality evokes themes of consumption, mortality, and existential contemplation. Drawing inspiration from Bruegel’s *Big Fish Eat Little Fish*, the work critiques the natural cycle of power and exploitation. Levi’s raw, naïve artistic style transforms this unsettling allegory into a provocative yet humorous reflection on human existence.

Ciroli’s *La Gabbia* is a striking composition of white human figures climbing within a sparse tree-like structure, all encased within a cage. The piece embodies the tension between aspiration and confinement—whether the cage protects or limits them is left ambiguous. The sculpture merges seamlessly with its surroundings, prompting reflections on human ambition, freedom, and solitude.

This monumental amethyst geode, among the largest in the world, mesmerizes with its deep violet crystals. Historically associated with sobriety, spirituality, and royalty, amethyst has been revered across cultures. Ancient Greek mythology links it to Bacchus, while Tibetan Buddhists regard it as sacred. The natural wonder of this gemstone invites contemplation on the earth’s hidden beauty and geological marvels.

Novak’s *Piramide* is a minimalist sculpture that blends seamlessly with the natural environment, contrasting the grandeur of ancient pyramids. Its presence invites contemplation on mortality, legacy, and human ambition. Like the works of land artist Richard Long, Novak’s piece elevates the ordinary into something profound, reflecting on the intersection of nature and constructed form. His background in psychedelic garage rock adds another dimension to his artistic philosophy of transformation.

Saint Phalle’s vibrant, voluptuous *Adam and Eve* reinterprets the biblical tale with a playful, feminist lens. Unlike traditional depictions emphasizing shame and sin, her figures are joyful, colorful, and free of judgment. The bright, rounded forms and patterns embody Saint Phalle’s signature style, reflecting her mission to reimagine historical narratives through female empowerment. The work is a continuation of her large-scale *Tarot Garden* project, where mythology and contemporary sensibilities merge.

Pongratz’s *Girlie* playfully distorts the human form, subverting expectations of femininity. The figure’s exaggerated proportions, misplaced shoes, and wicker-basket-like torso challenge conventional depictions of the female body. Lacking arms, the sculpture interacts with its environment, as tree branches behind it seem to extend from its body. Pongratz’s background in multiple artistic disciplines informs this whimsical yet thought-provoking piece, which reimagines the human figure in surreal ways.

This monumental sculpture reimagines water deities beyond the Western archetype of Poseidon. Hirt’s *God of the Waters* exudes serenity rather than power, inviting contemplation. At night, an ethereal mist and illuminated figures inside the sculpture create a theatrical, otherworldly experience, reinforcing its mystical nature.

Heller’s *Genius Loci* is a living sculpture—an oversized topiary bust that seamlessly blends with the surrounding landscape. Positioned with a breathtaking view of Lake Garda, its striking blue eyes command attention and invite contemplation. The work reflects Heller’s philosophy of integrating art with nature, as seen in his Marrakech garden, *Anima*. He views gardens as living expressions of art, blending natural beauty with human creativity.

Tezak’s *Casetta del Giochi* is a whimsical, painted playhouse nestled among the garden’s rocky outcrops. Adorned with surreal imagery of birds, animals, and abstract forms, it explores the boundary between reality and imagination. The artist’s deep interest in human-animal relationships and mythology is evident in his symbolic use of doves and yellow birds. Through its vibrant storytelling, the playhouse encourages childlike wonder while also confronting deeper philosophical themes.

Miró’s *Face* is a small, abstract portrait rendered in terracotta with bold black ink. The work’s primitive, cave-painting aesthetic reflects Miró’s fascination with early human mark-making. Despite its simplicity, the animated face invites curiosity, and its placement beside Erwin Novak’s work establishes a playful dialogue between the two artists. Miró’s lifelong experimentation with ceramics and unconventional materials is evident in this piece, which celebrates the spontaneity of creation.

Nishimura’s *Süßer Regen* is a delicately abstract bronze sculpture inspired by the lotus flower, a central motif in his work. Rooted in Buddhist philosophy, the piece symbolizes purity, rebirth, and enlightenment. The title refers to a Buddhist legend in which divine rain falls upon Buddha’s birth, emphasizing spiritual awakening. The sculpture’s unfolding form mimics the lotus’s growth from mud to bloom, paralleling the human journey toward transcendence.