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sculpture of the last two cattle standing on a hill for the final round up

The Fugitives

Specifications:
14″H x 12″W x 7″D
Edition of 30

Price:
$3,800

Scott’s Piece Description

I love the cowboy’s way to turn a common word or phrase into western lore. “Remnants” is one of these words.

On most ranches there is a spring and fall round-up. The time when the cattle are gathered up or brought in off the range to count, doctor, see if they’ve calved, castrate, de-horn or to ship off to market for beef. After the round-up, cattle were let loose to run wild for another six months. Occasionally, there were a few wiley ones in the bunch who figured out the system as well as places to hide. Every spring and fall they’d see men on horses coming and hightail it out of sight. After a few years they became known as “Remnants”. Smart, cagey and quick as deer these fugitives earned the right to be caught by savvy cowmen, “Remnant Hunters”.

It’s October and perched on an outcropping of rocks are two outlaws honed in on the last vestiges of dust kicked up by a herd being pushed down to the valley. It’s a good bet they won’t see hide nor hair of a rope for another six months. They still don’t feel safe. It’s that instinctual “unsafe feeling” that’s kept them out here and free for a few years. They’re not “Moss Backs” yet, but well on their way.

Curator Review

Scott Rogers captures the western spirit of independence and cunning in The Fugitives. Balanced on a craggy rock formation, two longhorns stand alert—survivors of many roundups, their wariness etched in posture and pose. The upward sweep of the composition draws the viewer’s gaze to the slope of the rock, emphasizing the elevation both physical and metaphorical: these are cattle who have escaped the net.

With bold texture and an expressive surface, Rogers communicates more than anatomy—he captures character. These “remnants” aren’t merely strays; they are seasoned escapees, savvy enough to outwit seasoned cowhands. The sculpture’s asymmetry adds to the tension, hinting at the uneven ground they tread—not just the literal rocks, but the precarious edge between freedom and capture.

The piece invites quiet admiration for resilience, for the kind of intelligence that doesn’t seek confrontation, only evasion. Rogers’ bronzes often tell a story with a wink of humor, and this one is no exception. The fugitives may be animals, but their instincts speak to something deeply human—the drive to be free, even when the odds are stacked high against you.

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