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Connecticut, whose curriculum is grounded
in the classical tradition. She majored in figure sculpture, in part because she wanted to
acquire practical skills. “I thought if I did
sculpture, I’d learn to use tools, make models — skills that would be applicable to a job,”
she says. Bedard fell in love with “the delicate beauty and purity” of plaster while doing
her senior thesis project in 2009 — a life-size
sculpture of herself as an adolescent.
Since college, she’s had a number of
commissions in New England. In 2010, she
replaced the Liberty statue in the 1876 Soldiers and Sailors Monument in Bridgeport,
Connecticut (the original had fallen victim
to vandals); the project won a 2015 Stanford White Award from the New York chapter of the Institute of Classical Architecture
& Art (ICAA). The following year, she did a
bas-relief for the tomb of American diplomat
Caleb Cushing in Newburyport, Massachu-
setts. In 2013, she was part of a team replicat-
ing the chambers of the United States Senate
at the Edward M. Kennedy Institute for the
U.S. Senate in Boston. Working with Hyde
Park Mouldings of Hauppauge, New York,
she executed three over-door bas-reliefs —
with figures representing courage, patrio-
tism, and wisdom — and a pair of American
eagles flanking the clock above the center
rostrum, a project that won a 2016 Bulfinch
Award from ICAA’s New England chapter.
At Foster Reeve, her employer since
2014, Bedard continues to work on interior
a sampling of Foster Reeve work includes a
fleur-de-lis design (top), sculpted in a dark-
colored clay, that will be part of a large Louis XIV
wall panel. The cherub molds and plaster castings
(above right) were made for the re-creation of an
ornate crown moulding in a Boston residence.
Plaster fragments (above left) are arrayed on a
workbench in front of a fluted wall panel and
printed images of historic cherubs that serve as
inspiration for new designs.