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The Forgotten Man

Specifications:
3 1/4″H x 12 1/2″W x 7 1/4″D
Edition of 30

Price:
$2,200
With Wood Base & Plaque $2,800

Scott’s Piece Description

One morning, at 6am, I was brought up short seeing a man sleeping on cold asphalt embracing a bottle of liquor. Where does the mind go with this? “Pity, shame,judgment, step quickly and get away from this human debris.” What can I do?” “Should I do anything at all?” “How did he let this happen to himself?” So many questions……

A gentle realization came to me, “He’s forgotten.” Not that ‘others’ have forgotten, but rather, he’s forgotten himself and has become an island of misery. Yes! It may take another to show him the way (be an example), but ultimately it is ‘he’ that must choose to ‘remember.’ To ‘remember’ what? To remember that he can exercise the greatest of all gifts…..the ability to choose differently. He can say “No” to the past. I have felt for years that within the parable of The Prodigal Son, six words hold a secret: “And when he came to himself….”. Could this possibly mean, “and when he awoke to his Divine nature,” or, “and when he let go of his ego mind”? Oh, to say, “I have come to my ‘Self,’ surrendered to Divine will, and forgotten the natural man.”

Ponder with me the words, “Lo, I am with you alway, even unto the end.” We’re they spoken only for a few? Is it even possible to be forgotten by Him whose we are?

I could have easily called this piece….”Judge not the wounded soul.”

Curator Review

Scott Rogers’ The Forgotten Man confronts us with a stark and intimate truth: the quiet agony of a soul who has lost sight of his own worth. Unlike many of Rogers’ action-filled Western scenes, this work is still—contemplative, even reverent. The figure lies curled against an unforgiving surface, barely distinguishable from the folds of his worn coat and the earth beneath him. He is both human and landscape, as though time and sorrow have eroded his form into the ground itself.

There’s a haunting vulnerability in the man’s posture, yet Rogers withholds judgment. The rough texture and almost formless features are not an artistic omission—they are deliberate. In blurring the lines of individuality, the sculptor draws us into a broader meditation: how often do we walk past lives like this, unmoved? And more deeply—how often do we let ourselves slip into this forgotten state?

This sculpture is not simply about homelessness or addiction. It is about spiritual amnesia—the moment when a person forgets their divine identity and slips into despair. But Rogers hints at hope. The figure, though downcast, is not destroyed. The earth cradles him. There is still breath. Still possibility.

In The Forgotten Man, Rogers presents not a cautionary tale, but a call to compassion—for others, and for ourselves. It is a piece that asks us not just to look, but to remember.

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