Born in Bucharest, Romania
Colea’s childhood unfolded during war and the rise of a communist government that sharply restricted movement and speech.
Long Island City, New York
The legacy of Ovidiu Colea—from a forbidden dream of liberty to a lifetime spent making her.
The founder
Ovidiu Colea did not begin with a factory. He began with an idea of freedom powerful enough to survive a dictatorship, imprisonment, poverty, and twenty years of waiting.
Born in Bucharest in 1939, Colea grew up under communist rule. He later told the United States Senate that he and his father listened in darkness to Voice of America and Radio Free Europe—their brief nightly connection to a freer world.
At eighteen, in the summer of 1958, he tried to escape Romania by crossing the Danube. A guard caught him before he reached the river. Colea spent the next five years in a prison labor camp, enduring hunger, punishment, forced labor, and sleeping on the floor. The experience did not change his determination to reach America.
He arrived legally in the United States in 1978 with almost nothing. On his first airplane journey, he pressed to the window and saw the Statue of Liberty from the sky—the figure he had dreamed about since hearing Voice of America with his father as a boy. His first job paid three dollars an hour in a casting factory. At night he drove a New York City taxi, and on weekends he worked a third job. Nine months after the factory laid him off, he helped form Barrett-Colea. The immigrant who had once been imprisoned for seeking freedom would eventually become one of America’s leading makers of the Statue of Liberty.
“I chose to keep the jobs in my country, America, giving back something that she gave to me.” Ovidiu Colea · Testimony before the U.S. Senate, 1997
A working chronology
Dates below come primarily from Colea’s own Congressional testimony and contemporary reporting. The record will be refined as company archives and oral histories become available.
Colea’s childhood unfolded during war and the rise of a communist government that sharply restricted movement and speech.
At eighteen he tried to reach freedom by crossing the Danube. He was captured and sentenced to five years in a prison labor camp.
At thirty-eight, Colea saw the Statue of Liberty from his airplane window on his first flight. In New York he worked in casting for $3 an hour, drove a taxi at night, and held a third job on weekends.
After being laid off nine months into his first factory job, he entered a partnership within a week and began building his own manufacturing future.
Barrett-Colea won an AT&T project to produce 65,000 sculptures for the 1984 Los Angeles Olympic Games—an early demonstration of scale and technical capacity.
The company obtained a license from the Statue of Liberty–Ellis Island Foundation. Its American-made replicas were presented to President Ronald Reagan, who sent a letter of recognition in May 1986.
Colea described the new company as a five-person operation developing new reproduction methods and techniques in acrylic sculpture.
Colbar worked with the Buddhist Association of America in Carmel, New York, on a monumental Buddha. Colea said the project took three years.
U.S. Patent 4,927,686 named Colea as inventor and Colbar Art as assignee for a process embedding a visible sculptural form within transparent material.
In Senate testimony, Colea described Colbar as the largest U.S. manufacturer of Statue of Liberty replicas, with more than thirty employees, many of them immigrants.
The World found a half-dozen workers casting miniature Liberty figures in Queens. Colea said, “I’m supplying the entire world with liberty.” WIRED separately documented an eighteen-person workshop and more than twenty Liberty molds, with casting, detailing, painting, and assembly still moving through human hands.
Upon Colea’s retirement, specialized resin machinery moved from Long Island City to a new workshop in Piraeus, Greece. Colea traveled there to teach his techniques.
Made in New York
Colbar’s great achievement was not simply volume. It was bringing the discipline of a sculpture workshop to an object ordinary visitors could take home.
WIRED described a factory where more than twenty Statue of Liberty molds supported a line made through casting, hand detailing, painting, and assembly. The same shop also created prototypes, custom molds, original artwork, limited editions, and technically demanding fine-art sculpture.
That range explains why collectors recognize Colbar pieces as more than anonymous souvenirs. They came from a moldmaking and casting operation capable of serving tourists, artists, institutions, and major commissions—without abandoning the evidence of human hands.
The World reported in 2013 that Colea made a point of hiring immigrants like himself. His son Ed remembered his father helping people from different countries find work, care for their families, and pursue the American dream—extending the meaning of Liberty beyond the object leaving the mold.
Prototype development and a deep library of molds gave Colbar control over form, scale, and repeatability.
Pieces passed through multiple workers for casting, surface refinement, painted details, and assembly.
Collectors remember Colbar for balancing recognizable sculptural quality with an attainable souvenir format.
Colea resisted moving production abroad solely for lower labor costs, tying American manufacture to gratitude for the country that received him.
Beyond the familiar green figure
Liberty made Colbar widely known. Other work reveals the technical ambition behind the name.
Hart’s official archive credits Colea as a close associate who collaborated on clear acrylic resin and helped develop the cast-marble formula Hart required for editioned works.
Colea’s patented process made a three-dimensional inner form visible within a transparent outer body—part engineering, part material experiment, and part art.
Beginning in 1989, Colbar undertook a three-year project for a 37-foot Buddha for the Buddhist Association of America in Carmel, New York.
The next chapter
The Long Island City shop has changed, but Colbar’s molds, business history, machinery, and resin knowledge appear to continue through distinct lines of stewardship.
Colbar Art has been acquired. More details to follow.
A January 2026 trade article reports that Evelyn Hill purchased a Queens factory in 2019 to manufacture poly-resin Statue of Liberty replicas in-house. The article does not identify the factory as Colbar Art, so this archive does not present it as documentation of the Colbar acquisition.
Objects of Common Interest records that Colea’s machinery was relocated to an 800-square-meter workshop in Piraeus when he retired. Colea traveled to Greece to lead intensive instruction in his methods.
Castinggg describes its contemporary sculpture studio as founded on the legacy of Colbar Art’s “master resin craftsman,” carrying forward four decades of moldmaking and casting knowledge.
Evidence behind the story