“My sculpture is kinetic, meaning that it moves. The elements are derived from nature, and I borrow natural elements — wind, water, magnets — to set them in motion. The rhythms are influenced by infinite variables: the points of balance, the normal frequency of each form, the interruption of the counterpoise. I juggle, juxtapose, and adjust to achieve the dance or pantomime that I want. Then the sculpture takes over and invents a fillip of its own.”
—-Lin Emery
“Insanity is relative. It depends on who has who locked in what cage.”
― Ray Bradbury
Unnamed Sculpture Ed Carpenter, Richardson, Texas
Unnamed Sculpture Ed Carpenter, Richardson, Texas
Workers installing glass bits, Unnamed Sculpture Ed Carpenter, Richardson, Texas
Richardson, where I live, has an ambitious trail that bifurcates the city from North to South roughly along Highway 75 and the DART Red line – the Central Trail. However, one key spot near the north end of the trail has been pretty much useless for over a year due to all the construction at Alma and Greenville. Now all of that is headed into the home stretch (until something new pops up) and now, something really new is growing up out of the ground.
At first, most folks assumed it was a cell phone tower or other piece of infrastructure – but it actually is a huge work of art.
From the city’s description:
An iconic art piece celebrating the history of the technology in Richardson will be installed late this summer just south of the Eastside development. The site at Greenville and Alma was specifically selected for a unique public art opportunity since it is a highly visible location, located at the center of the community and Telecom Corridor® area and is in close proximity to the Central Trail for pedestrians to enjoy. This public art installation corresponds to the goals set for the City’s Public Art Master Plan adopted in 2015.
….
The art piece features a lattice of crossing diagonal stainless steel cables on a galvanized carbon steel main structure supporting laminated dichroic glass elements. The glass elements suggest abstract ones and zeros, the basic building blocks of all things digital, which the artist and committee felt was fitting for a city with a high-tech identity.
At first, I thought it looked like a giant frisbee golf goal. Now, I realize it looks more like the world’s largest set of tomato cages.
An now the vines are starting to climb up. Workers are out on a lift in the late summer stifling heat installing strings of colorful glass over the armature. I have no idea how much they will hang up – what it will look like when it is finished. At that point they will put in some landscaping (hopefully, a nice rest stop with some benches, shade, and water along the Central Trail). Eventually, all will be revealed, including the sculpture’s name.
The truth about the world, he said, is that anything is possible. Had you not seen it all from birth and thereby bled it of its strangeness it would appear to you for what it is, a hat trick in a medicine show, a fevered dream, a trance bepopulate with chimeras having neither analogue nor precedent, an itinerant carnival, a migratory tentshow whose ultimate destination after many a pitch in many a mudded field is unspeakable and calamitous beyond reckoning.
The universe is no narrow thing and the order within it is not constrained by any latitude in its conception to repeat what exists in one part in any other part. Even in this world more things exist without our knowledge than with it and the order in creation which you see is that which you have put there, like a string in a maze, so that you shall not lose your way. For existence has its own order and that no man’s mind can compass, that mind itself being but a fact among others.
― Cormac McCarthy, Blood Meridian, or the Evening Redness in the West
Gridman 3 Stephen Daly 2007 Sandblasted Aluminum Dallas, Texas
“Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again. He knows where They have trod earth’s fields, and where They still tread them, and why no one can behold Them as They tread.”
― H.P. Lovecraft
The Guardian Horton Humble 2017 Louisiana, Welded Steel Poydras Street
The Guardian is a giant figure, a hybrid of a man and a bird, standing for the inhabitants of a great city. It represents a creature activated by fear capable to rise up each time humanity doubts its own powers to overcome injustice and inhumanity.
—Horton Humble
Across Poydras and down a few doors from my son’s apartment is the Le Pavillon Hotel – originally named the Denechaud, then for generations was the De Soto Hotel. – which boasts an ornate entrance with huge classical statues flanked by massive Corinthian columns. I loved the contrast with the modern sculptures scattered along the median of Poydras.
From my son’s apartment pool, look up, I could see the bleached white back of a statue on a wall against the sheer drop down to the street. I found out this was a sculpture at the Le Pavillon’s pool. I was oddly fascinated by this – and one day want to visit.
The pool at Le Pavillon, from TripAdvisor. You can see the sculptures against the wall. The blue-gray building with vertical windows behind and to the left is my son’s apartment building.
“Hundreds of butterflies flitted in and out of sight like short-lived punctuation marks in a stream of consciousness without beginning or end.”
― Haruki Murakami, 1Q84
Black Butterfly John T. Scott, Aluminum, 1996 Poydras Street, New Orleans
“Black Butterfly” is an abstract aluminum sculpture completed four years after John T. Scott was awarded the MacArthur Genius Award. Scott’s work frequently displayed themes related to African-American life, particularly the rich Afro-Caribbean culture and musical heritage of New Orleans. See this sculpture on Poydras Street at O’Keefe.
But witches don’t exist, and they don’t live in swamps, I say.
“Yeah, they do. They do exist. They just don’t exist the way you think they exist. They certainly exist. You may say well dragons don’t exist. It’s, like, yes they do — the category predator and the category dragon are the same category. It absolutely exists. It’s a superordinate category. It exists absolutely more than anything else. In fact, it really exists. What exists is not obvious. You say, ‘Well, there’s no such thing as witches.’ Yeah, I know what you mean, but that isn’t what you think when you go see a movie about them. You can’t help but fall into these categories. There’s no escape from them.”
—-Jordan Peterson
St. George and the Dragon John Mills, Bronze, orig. Plaster Windsor Court Hotel, New Orleans
It is said that ‘change’ is the only real constant. It may very well be fact, but then again, even facts change and that may be the fact that governs us all.
—- James Surls, artist statement
Standing Vase With Flowers, James Surls, 2010 Colorado, Bronze and Stainless Steel Poydras Street, New Orleans
“People are so fucking dumb. Nobody reads anymore, nobody goes out and looks and explores the society and culture they were brought up in. People have attention spans of five seconds and as much depth as a glass of water.”
― David Bowie
David, by Boaz Vaadia, 2009, New York, Material: Bronze and Bluestone Poydras Street, New Orleans
From the exhibition Label:
ABOUT THE ART”
“David” is a bronze casting of a larger-than-life-size figure that was sculpted in layers of bluestone. The unique style of Vaadia’s work is directly inspired by the natural formation of stone in the earth and other forces of nature. Through the materials he works with and the sculpture he makes, Vaadia explores the primal connection of Man to Mother Earth.”
I’m sure thousands of commuters drive by every day on their way to work and thousands more tourists go by on their way to the French quarter or the Casino. None of them notice the giant figure standing there at the intersection. Shame, really.
“I assert that the art of sculpture, among all the arts connected with design, is at least seven times greater than any other, for the following reason: why, sir, a statue of true sculpture ought to have seven points of view, which ought all to boast equal excellence.”
― Benvenuto Cellini, The Autobiography Of Benvenuto Cellini
Gymnast, by Enrique Alferez, bronze, Poydras Street, New Orleans
The first one that I noticed was a beautiful bronze woman in an athletic, dancelike pose, rising above the median only a few feet toward the river from where my son lives. Looking it up, I wasn’t too surprised to find out it was another work by Enrique Alferez like the nearby Lute Player and David – which I wrote about the last two days.
Alferez has work all over the city.I must make a list and try to get to some more the next time I visit.
Bill Chance 