FLOW.16 Artists

The Blog

Tomorrow: moving the tires! (4/26)

I was piling up tires with Shirel (thanks for the help!) so that we can smoothly get them out of the studio for my move tomorrow!!

Moving from tires to PVC tubes...

PVC pipes are all painted, and I am applying resin for a shiny finish and also to protect them better, from the weather and interaction. Inside they will have different materials that I have already started ordering and collecting..

Tires, tires, and more tires! DONE!!

I have finished painting all the tires. I keep piling them and combining them in different ways, to see how they interact withing each other and get inspired for the on-site installation. I also had the opportunity to have friends and people visit my studio (for Open Studios at the Elizabeth Foundation) so got a sense of scale and interaction that people add to the work.

13. Monument to a Missing Island

The left and right columns were assembled first, as they are more stable and will anchor the piece on site. After assembling all of the column sections, threaded steel rods were run through the work. Working from the bottom up, the sections were drilled out bolted tightly down every four sections until a solid column was formed.

 


 


12. Monument to a Missing Island

So, construction. One of the challenges of building Monument to a Missing Island, is the sheer quantity of its elements. Approximately 9000 pieces of wood, all the same size. 

The work is constructed like the Pin Screens many of us have played with as children (or bought in a Sharper Image catalog) In a Pin Screen the metal pins take the form of an object pressed into the tightly compressed assemblage. The added challenge with the sculpture is that the wood, in forming the shape of the explosion that shattered Flood Rock, extends to lengths from the beyond what the form capable of being held  by the tension of the wood. At it's maximum point it reaches a distance two and half times the basic rectangular form.

The first step in assembling the sculpture was to divide the work into four vertical columns. These would be built in 102 flat layers. These flat layers would then be glued and assembled in 25 sections 4 layers high (and one layer 2 boards thick).

 


 


 

The Artists