art
The fire came swiftly, sweeping through the dry, late-summer undergrowth, and the land was quickly blackened and denuded. A month later, the rains came, hard and lashing, and rivulets of water ran down the hillside. Torrents of mud and stone ground away the soil and washed out the base of a tree that happened to be in the way. The tree fell. Branches became splinters on the ground. The noise the tree had made as it fell was intense: a cracking and groaning sound followed by crackles as limbs snapped against still-standing trees. Now it lay there, its roots all but pulled from the ground.Ten years passed, and as the tree's bark rotted, small saplings had begun to grow from its base. The creek ran close by, gurgling and never-ending, its water wending its way among the rocks and other fallen trees toward the ocean just half a mile away. This tree would serve a purpose in its death: In my work as a sculptor, I seek out
Last year at about this time, we ran a sequence of articles on watershapes of historic or monumental importance. These included such spectacular installations as the fountains and pools of
All through my career, I've never really been big on advertising. In fact, the only place I've ever advertised is in Naples, Fla., where I've never been successful drumming up any business even though it's only a short distance from my home. I gave it a good shot - a nice ad with a picture of a vanishing-edge pool, placed in a local newspaper's special section on backyard swimming pools. I was confident I'd get some response, but all that came back was
There's a natural tendency to think of artists as dreamy, distracted types devoid of any aptitude for or interest in things technical. When you study just about any art form in depth, however, you soon realize that
From the beginning of my career as a sculptor, I've mostly given myself over to two simple elements - metal and water - and have tried to develop approaches that turn one into an extension of the other. I like the sense that a sheet of flowing water completes the simple stainless steel shapes I create. I also like to play with illusion by creating the impression that the water appears to come from nowhere. And I like getting involved in the hydraulics of laminar flow by making the water emerge from steel as a smooth, cohesive sheet. In a sense, I draw constant inspiration from
It's the little things that often make the biggest difference in creating beautiful spaces within gardens or near watershapes. A well-articulated retaining wall here, a clever treatment of a stone footpath there or the perfect placement of a stone stairway can, at various points, lend variety, balance and even a sense of antiquity to the work. In the first installment of this series of articles on classic uses of stone in gardens and watershapes, we began with an overview of stones set among plantings and used as simple structures in some of the world's most beautiful
Looking for inspiration in an urban environment can leave a designer with precious few useful references. Take downtown Chicago, for example, where our indigenous waterfeature is Lake Michigan and our public art is too often plopped in the middle of concrete plazas. Be that as it may, I do my part by trying to introduce both water and art into my projects. So I was thrilled to be retained by Mary O'Shaughnessy, owner of the Wood Street Gallery in Chicago, to design a sculpture garden. I knew it would give me the chance to create a balanced, beautiful space - even though I also knew the job wouldn't be easy. What she wanted was a garden environment in which she could display and sell contemporary American sculpture - a place that would help clients visualize the way the art might look in their own gardens. As we dug deeper, we uncovered additional goals: It needed to be a space that would accommodate a changing variety and number of pieces; it had to be functional for large parties; and it had to incorporate and acknowledge the garden's urban neighborhood while still providing a sense of enclosure for gallery visitors (and, of course,
As a designer and artist, I believe that water and glass walk hand in hand: Both are transparent and translucent. They distort and reflect surrounding colors and forms. And depending upon whom you ask, water and glass are both liquids. The visual and physical resonance between these two fascinating materials is important to me: I know that their interplay adds an entirely different dimension to my work that enhances the effects I can achieve using glass, metal and ceramics, so I'm always eager to explore artistic solutions when my customers want the project to include water. In this article, I'll examine three of my projects that use water to accentuate and reflect the sculpture while providing the soothing sounds that create an overall feeling of peacefulness in the surrounding space. But first, a bit more about what I do - and how I do it. AHEAD OF THE GLASS As with many forms of sculpture, working with glass requires technical know-how and, like many modern artists, I have acquired a background in construction and fabrication techniques. Back in school my
It's an age-old paradox, this relationship between art and science. On the face of it, things artistic may seem solely the realm of high-flying thinkers and philosophers who spend their days at the far reaches of interpretation and meaning. By contrast, engineers and scientists would seem to be dealing purely in the certainties of what is quantifiable and real. The truth is, I don't know of a modern art form that doesn't involve technology of some kind. Conversely, most branches of modern science call upon researchers to apply a great deal of intuition and creativity to the processes of exploration and discovery. In other words, neither the arts nor the sciences could exist without ideas and disciplines derived from the other. That's especially true when it comes to water systems. Whether created for aesthetic or recreational purposes, art and science can come together here in a particularly compelling and interesting way. By combining technical disciplines with
I believe that what we strive for in our watershapes is evident in the paintings and sculpture of the great masters. The harmony, the beauty, the drama, the excitement of the senses, the total captivation of the viewer create an experience we call great art. The more we can reflect on this work and use it as a lofty benchmark, the more effective our watershapes become. I've always believed that the best way to work at the highest level is to follow the tenets of
