Laurent Grasso, 'Soleil du Nuit'

Artist Info: Laurent Grasso is a French artist who bases his practice out of both Paris and New York. He completed his schooling at the École Nationale Supérieure des Beaux-Arts in Paris and has since been recognized for his achievements in the art world. Grasso has shown his work at numerous exhibitions around the world and has participated in a number of international biennials. In 2008 he was awarded with Prix Marcel Duchamp for his work in the field of conceptual art. Many of Grasso's works revolve around his interest in studying science and history.

'Soleil du Nuit' was opened just a few months ago, in the spring of 2013. The work sits in two parts - a series of three rotating metal balls right outside the entrance to the Commonwealth Rec Centre and a neon light sculpture with the words 'Soleil du Nuit' close to another nearby parking lot. Unfortunately, I wasn't able to see the neon lights when I visited this work but I included a link at the bottom that contains TONS of images of this piece. The artwork is supposed to be about the varying amounts of light we get during the summer and winter months, particularly touching upon the small amount of daylight we get during this time of year. The rotating balls are intended to catch the light and create a shimmering, disco-like effect. The work uses the natural light during the day and is electrically lit at night. Grasso mentioned that he hoped the work would catch the eye of a passersby and they would be led by their curiosity to inspect the work further. Grasso also mentioned that the light-catching balls are supposed to reference early Canadian settlers who used mirrors to communicate to each other across large distances. 

The work has been somewhat controversial since its installation. Just like the Talus Dome, some individuals are upset that the commission was given to an international artist instead of a local. According to the Edmonton Arts Council the work was selected by a panel out of many pieces. They selected the work because they liked the idea behind the piece and thought the international status of the artist would give a global feel to the city.


My Thoughts:  I am quite drawn to this work. I had been told about the 'lollipop sculpture' but did not know the name of the piece and could not figure out where it was in the city. I was definitely excited to stumble upon it while heading to the rec centre last week! I remember walking up to the sculpture and being unsure if the work was actually moving. I stood still for a few seconds and was pleasantly surprised to find that the work itself slowly rotates! I have visited many pieces since starting this blog and very rarely get to see a moving work in action. 

I know this piece has been controversial because the artist is from France. While I understand the argument to give commissions to local artists, I do tend to agree with the EAC in the importance of including international artists to give the city a global feel. The city is becoming a large, world-recognized destination. It is nice to be able to show that we are welcoming to outsiders as well as our own artists. Furthermore, showing we support international art is the only way to have international cities support our own artists. 

What do you think? Do you like this piece? Do you agree or disagree with my argument in support of international art?

Here is this link mentioned above with additional images of the artwork: http://blogs.edmontonjournal.com/2013/06/10/2o13-o6-1o-day-for-night/ 

Ray McAdam, 'Passengers'

Artist Info: Ray McAdam is an active artist and art instructor in Edmonton. He received his Bachelors in Design at the University of Alberta and has taught design courses at the university since his graduation. He also works at Grin Design House where he receives contracts for visual media such as posters or advertisements. According to his bio on the Grin webpage, he specializes in CAD 3-D modelling which he uses to create sculptures out of metal, plastic and wood. He also enjoys using his design background to renovate buildings within the city.

'Passengers' was created in 2009 as a Percent for Art commission at the South Campus LRT station. The work consists of clear, plastic bird silhouettes flying under the roof of the LRT station. The birds also contain LED lights so they can be lit when the station is dark. According to the Edmonton Arts Council report, shortly after the sculpture was installed a few of the birds became damaged and fell down from the ceiling. The entire sculpture was removed and the birds re-secured. It was re-installed in the summer of 2011. 


My Thoughts: I had never noticed this sculpture in-person before but had seen information about it online wanted to feature it on the blog. I am usually very drawn to birds in art so I headed to the LRT station expecting to be attracted to this work. Unfortunately, I was a little disappointed with the sculpture. I thought the shapes didn't like birds at all! The silhouette I had been looking forward to seeing reminded me more of a manta ray than a bird. I believe this simplified shape was an attempt on behalf of the artist to get away from the typical bird silhouette used in glass transit stations to frighten away actual birds. Still, I thought a lot of the magic was lost because the shapes did not look like birds. Perhaps if I had seen the work with the LED lights on I would have had a different reaction, but overall I left feeling a little disappointed.

I also wanted to include images of the actual bird-scaring devices at this LRT station so you can see how the objects work together. (shown below) Even though I was disappointed with McAdams birds, I still enjoyed the bird theme going on at the station. Both the sculpture and the functional balls help to make the station seem a little less urban and tie in with the U of A experimental farm visible from the station. 

What do you think? Am I being too hard on the birds? Do they look different when they are lit? Maybe it was because I had gone to the station with a pre-concieved idea of what I was going to experience.

 

Tommie Gallie, 'Hidden Charms'

Artist Info: Tommie Gallie is an Edmonton-based artist originally from Nova Scotia. He completed a degree in Fine Art at the Nova Scotia College of Art and Design in the late 60s and continued on to receive his MFA at the University of Alberta in the early 70s. His earliest sculptures often used wood in conjunction with ropes and tar to reference his Maritime heritage. His interest in wood as a medium continued and the majority, if not all, of his later sculptures were made almost entirely out of varying types of wood. Apparently, he often uses smaller pieces of wood to secure the larger sculptural elements together, using balance and pressure instead of nails to create the desired effect. Most of the pieces are site-specific and have been built into a specific location. 

'Hidden Charms' was part of a commission from The Places in 1978 when Churchill LRT station initially opened. It is made of both fir and hemlock woods as well as steel rods over the top of the sculpture. The work is tucked into a pedway alcove between the City Centre Mall and Churchill Station and was likely built on site, specifically for the dimensions of the hallway. Unfortunately, there is minimal information about this work or about Gallie's career as an artist. If you have any more information, please post it to the blog! 


My Thoughts: I have always been undecided about this work which is why I have not posted about it until now. On some days I enjoy the brief reference to trees and nature in the unwelcoming and sterile pedway. Other days I find the work random and confusing. It doesn't seem to tell me a story and I wonder why it is there. In one of the few articles I found about Gallie I read that he sometimes created juxtaposition in his work through the setting and materials. I think there is a definite juxtaposition occurring here between the whitetile of the station and warm yellow wood in the sculpture. Nevertheless, I find the title 'Hidden Charms' very appropriate. The work cannot be seen from the curving pedway until you are right beside it, leaving an unexpected surprise when you finally get a glimpse of this large sculpture. 

What do you think about this piece? Please do let me know if you have any more information about Gallie. 

J. Steward Johnson, 'Lunchbreak'

Artist Info: J. Steward Johnson is a painter and sculptor born in New Jersey in 1930. In his early life he worked at the well-known company Johnson&Johnson, founded by his grandfather Robert Wood Johnson. He began focusing on his art career in 1962 when he was fired from his job at Johnson&Johnson by his uncle. His earliest artworks were paintings but he began to work almost entirely in sculpture by 1968. He has since become well known for his sculptures of every-day people. His works are largely public commissions and can be found in cities in the US, Canada, France, Italy and Hong Kong. He is recognized for the life-like poses and realistic-looking fabrics on his figures. To create his works, Johnson usually begins with a small clay sketch. He would then make a larger sculpture to form the mould. To create his realistic fabrics, Johnson would occasionally include real clothing items to shape the mould, thus creating the folds and textures in the final metal sculpture.

'Lunchbreak' was given to the City of Edmonton in 1983 as a gift by the Devonian Group of Charitable Foundations. The sculpture has remained a part of Churchill Square as the Square has developed from a grassy field to the concrete centre it is today. This is not the only 'Lunchbreak' sculpture to be created by Johnson. There are at least 3 other identical sculptures in the US. Interestingly, in doing some research on this sculpture I noticed that the lunch kit sitting on the bench occasionally changes. Sometimes he is only sitting with a lunch box while at other times he also has a thermos. I do not know if this was the intent of the artist or if the other items in the lunch kit have been stolen or damaged over time.


My Thoughts:
So far with this blog I have usually been trying to stay away from these figurative sculptures because I often find them too closely connected with monuments. Still, I know how beloved the 'Lunchbreak' sculpture is within the city so I wanted to include it in a feature on the blog. Johnson's sculptures have been criticized for being too kitsch and I definitely can agree with this statement. There is nothing challenging or thought-prevoking about this sculpture. Still, it is hard to dislike something that is so well recognized as a symbol of the city. Although the piece is 30 years old, I still often see people taking photos or posing with the figure. I also sometimes see it featured on the news or in advertisements about Edmonton. It has become one of the iconic symbols of the city and helps people to instantly recognize Churchill Square. Kitsch or not, I think it is definitely a key sculpture in Edmonton and will continue to live in the city centre for many years.

This will be the last blog posting for this year. Thank you joining me in 2013 as I wandered through Edmonton public art. I hope you all have a Merry Christmas and a Happy New Year! I'll see you in 2014!

Inges Idee, 'Running Track'

Artist Info: This bright red sculpture is a creation from the artist collective Inges Idee. The piece was a Percent for Art commission for the new Terwillegar Rec centre and was installed in 2010. Inges Idee is a group based out of Berlin consisting of four artists - Hans Hemmert, Axel Lieber, Thomas A. Schmidt and Georg Zey. Each member of the group has his own art practice but they also work as a team to create public works of art. The artists mention that they like creating work for public spaces because it is constantly evolving as the neighbourhoods develop over time. They prefer these works in public spaces to the white cube of museums because they can become a part of the community and grow with the city itself. 

'Running Track' is a huge foam sculpture measuring 5 metres high and 8 metres long. The work was created by Inges Idee in Calgary and shipped to Edmonton in two pieces. The work is coated with a strong, polyurethane paint. Not surprisingly, running track is supposed to represent two running legs. The artists took a sculpture of a running figure and broke the movements down into a more abstract essence of movement to create this piece. The piece is supposed to reflect the activities within the rec centre as well as the colour palate of the building.

My Thoughts: I am embarrassed to say how long it took me to figure out that these were legs! It was only until I saw a front view of this sculpture and it looked like a runner at the starting line that I realised the connection. I think the piece is fun and quirky and a nice accent to the Terwillegar community. I think the very contemporary shape of the piece accents the new-looking building well. Also, the colour and size of the piece make it an easy landmark to spot when you are trying to find the rec centre. 

Tony Bloom, 'Convergence'

Artist info: Tony Bloom is a Canmore-based sculptor who has been working as an artist for almost 40 years. While his original sculptures were done in clay, he has been working in metal since the 80s when he discovered the versatility and durability of the medium. He has since created a number of artworks both as public art commissions and for sale in his commercial gallery in Canmore. Not all of his works are solely for display. Bloom is also known for creating functional works for the home including tables, doors and large cauldrons. 
'Convergence' was a commission from the city of Edmonton for the Victoria Promenade at 117 Street and 100 Avenue. The work sits at the top of the river valley and is visible from many different pathways and roads. The piece consists of 3 posts and 1 fountain spaced along the walkway. The posts stand along the sliver of green space marking the path while the fountain (depending on the time of year) can have a stream of water running down the pipes creating both a visual and auditory effect. The steel structures are connected by a trail of shrubbery native to Alberta. Bloom was interested in this central point as the convergence of many elements - water and land, land and sky and city and nature. It can also be seen as a place where residents converge while taking in the view of the river valley. Due to the nature of the piece as a fountain, the work was in need of conservation a few years ago. Bloom worked closely with the conservator at the Edmonton Arts Council to re-paint and maintain the work to ensure it did not rust or fall into disrepair. This is not the only water-related work on Bloom's resume. A number of his public art pieces feature moving water, including a large kinetic water sculpture for the BC Hydro Authority. 

My thoughts: I have always been drawn to water-related sculptures, largely because of the inclusion of sound in the piece. Unfortunately, I don't think I have ever been to the Victoria Promenade while the fountain is on, making it hard for me to fully evaluate the work. I like the combination of the fountains with the posts to help in making the pathway more welcoming. It feels as though the posts that do not shut down for the winter allow the sculpture to appear more inviting year-round as opposed to only having the fountain which can seem unwelcoming when it is not running. 
Has anyone ever seen the fountain on? Do it ever get turned on? Maybe I have just missed it.

Peter Hide, 'Full House'

Artist Info: Peter Hide is an English-born artist who gained experience at Saint Martin's School of Art in London where he studied under the modernist sculptor Anthony Caro. Hide is well known for his large abstract sculptures made of welded steel. Early in his career Hide found employment teaching at the Saint Martin's from 1971-78. By 1978 he had accepted a position to teach at the University of Alberta and came to Edmonton to further his career. The budding art scene in Edmonton gave him the flexibility to experiment and really settle on his own artistic style. Hide continues to teach at the U of A and create sculpture that he says has a focus on architecture.

Unfortunately, there is minimal information about 'Full House'. The piece is made of welded steel was commissioned in '97 for the opening of the Winspear building. The title 'Full House' likely is making a reference to selling out of tickets at a concert.


My Thoughts: To be honest, since the day I began this blog I have been dying to do this piece and am upset that there is not more information on it. 'Full House' is one of the first sculptures I really noticed when I moved to Edmonton and I instantly fell in love with the whimsical shape of the doorway and the idea of what I might find inside. I can definitely see Hide's interest in architecture for this piece. The shape of the sculpture echoes the strong lines of the Winspear, making me think that this could be a miniature concert hall. The rusted colouring seems warm and inviting. Often when I pass the work I find myself hoping that I have missed a detail and can actually enter the tiny doorway and sit inside the piece. Finally, I enjoy its proximity to the L'Espresso patio, making me feel that the sculpture is not just for Winspear patrons but for anyone on the square who is taking a moment to sit down and take a break.

Let me know if you have any comments or more information about this sculpture! I'd love to learn more about this great piece.

PS: Can you tell I took this picture a few months ago? It looks so summery!