Bouquet sculpture series–and Walking, Seeing, Constructing

Here’s a recent stainless steel piece, about 4 feet tall, that looks just fine from all sides and thus resides deeply in 3-space, not in flatland of paper and computer screen and also not in frontal-flatland of representative sculpture. The images below go around the piece, showing some of the scenes generated by the sculpture.

This was the first day that the piece was in sunlight and there was more to see in borrowed sunlight, more intense light, more painted color fields than in the light of the welding shop.

As usual, there’s an enormous difference between the quality of the visual experience of the actual piece experienced quickly by the eye compared to photographs viewed even under careful slow study.

Often the limits of photography are in its modest range of light intensity compared to what the eye sees. For Bouquet for the year 2006, however, the photographic narrowing is in the range of subtle color distinctions. There are many goings-on in reality-color compared to photographic color, which, I suppose, we already knew.

90% of experiencing landscape sculpture is just showing up.

The piece works with the 3-D play of the planes and the air volumes created by that interplay along with the art-deco edges. The planes create an interplay of air volumes in the negative space and also serve as local (internal to the piece) projection planes for reflected light and shadows from nearby elements. Hard to see in photographs; however, maybe some of the air-volume information can become visible and active in movies.