The Public Artworks: Sculptures Report (Assessment)

Greg Johns, Returning Figure, 2011

The author uses stainless steel to present the human position in the world. The scale is rather big, and the artwork can be described such parameters as 650h X 54w X 80d cm. The sculpture is located at the beach in Cottesloe, and the minimalistic forms are correlated with the observed open spaces of the sea. While observing the sculpture at wide spaces of Cottesloe’s beach, it is possible to discuss the artwork as the representation of the man’s freedom and the general idea of infinity¹.

Stephen Beardsell, Seeds of Time

Stephen Beardsell’s work is made of crystal glass and metal to reflect the beauty of nature. The forms are twisted. The size of the seeds is rather exaggerated about the real sizes and forms. The seeds directly reflect the colors of the grass and leaves. The artwork is influenced by nature, and it is not in conflict with the environment while affecting the philosophical vision related to the work³.

Sophy King, Wave, 2001

The materials used to construct the sculpture are aluminum and glass which represent transparency about the world processes. The artwork is rather large and impressive. Being located at the desolated place, the sculpture seems to reflect the environmental bleakness. As a result, the public space influences the reading of the work directly, making people see it as rather melancholic.

The Response to Stephen Beardsell’s ‘Seeds of Time’

Stephen Beardsell’s sculpture ‘Seeds of Time’ is located in the Burghley House Sculpture Garden, Lincolnshire. The sculpture is made of glass and metal, and it seems to be twisted into the ground along with the grass without affecting the natural balance. The sculpture and the site become united because seeds imitate the natural forms. Beardsell’s sculpture ‘Seeds of Time’ reflects the environment not only figuratively, but actually and clearly⁶. The sculpture reflects the elements and the color of the grass, leaves, water, and sky in the crystal glass seeds.

It is possible to state that the glass seeds serve to provide the historical associations because accentuating the title of the sculpture, ‘Seeds of Time’, Beardsell seems to state that the glass sculpture reflects the forms of the seeds which grew at these lands during the centuries⁷. As a result, the sculpture can be considered site responsive because of adding a deeper meaning to the discussion of the site’s flora.

Beardsell’s work is successful because it catches the public’s attention with the crystal reflective surfaces and makes the audience think about the philosophical meaning of life’s development. However, receiving the opportunity to alter the elements of the work, it is possible to choose the other metal in order not to influence the transparency effect of the seeds.

Olafur Eliasson, New York City Waterfalls

The magnificent work is made of metal to construct the waterfall. The scale is impressive and surprises the viewer. The artificial waterfall reflects the natural dynamism of the falling water. As a result, the waterfall is perceived as a part of the natural environment instead of the metal construction of the bridge⁸.

Christo and Jeanne Claude, The Gates

The Gates are made of bright colored fabric panels. The scale is impressive because more than 7,500 bright gates were located in New York’s Central Park during the winter and summer¹⁰. The artwork can be discussed as conflicting with the environment because of the accentuated color contrasts which are considered as atypical. However, the panels are perceived as the red river spread in the park to support the idea of the close relationship with the environment.

Antony Gormley, The Shitting Man

The unique construction is made by the pylon manufacturer to present the curved lines in a form of a moving creature. The sculpture is discussed as monumental, and it does not reflect the aspects of the environment. However, the large-scale construction is perceived as the representation of the human instability¹².

Richard Serra, Sheet Metal Construction

The constructions designed by Richard Serra are made of metal, and they are curved to represent the large-scale minimalist sculpture. The artwork is perceived as conflicting with the other environment because of its large size and form. However, the artwork can also reflect the natural lines to reflect the connection with the natural surroundings¹⁴.

Doris Salcedo, Turbine Hall, Shibboleth

The main object of the composition is the subterranean chasm. The chasm is in the Turbine Hall. This form disrupts the stability of the hall’s floor representing the dramatic nature of shifted lines. The monumental installation is perceived as accentuated the ides of the loss¹⁵.

The Response to Olafur Eliasson’s New York City Waterfalls

Olafur Eliasson’s large project consists of several artworks known as New York City Waterfalls. Although the waterfalls are based on large metal constructions, the artwork seems to be a part of the environment because of using large masses of water.

The waterfront is actively involved in constructing the artwork which is rather dynamic and powerful as the water movement. Being closely associated with the immediate environment, the waterfalls are discussed as the messages pointing at the necessity to unite nature, man, and technology. New York City Waterfalls refer to the idea of the original power of the water. These waterfalls represent the power of water hidden under the bridges and other constructions, and the whole artwork becomes site responsive and meaningful.

New York City Waterfalls are the symbols of limitless power and energy, and the artwork is successful because the dynamism of the water is used to accentuate itself, without emphasizing any constructions. Instead, the dynamic water is accentuated and illuminated at night with the help of light-emitting diodes. As a result, the artwork becomes more impressive and attractive, and the water power is perceived as the main intriguing element¹⁷. Thus, the alternations are possible only about the process of hiding the metal construction.

Bibliography

1. “Antony Gormley, The Shitting Man”. The Guardian. Web.
2. “Christo and Jeanne Claude, The Gates”. Christo Jeanne Claude. Web.
3. “Doris Salcedo, Turbine Hall, Shibboleth”. ART21. Web.
4. “Greg Johns, Returning Figure, 2011”. Sculpture by the Sea. Web.
5. “New York City Waterfalls, Olafur Eliasson.” Public Art Online. Web.
6. “Olafur Eliasson, New York City Waterfalls”. Today in Art. Web.
7. “Richard Serra, Sheet Metal Construction”. Andrew Carmellini. Web.
8. “Sophy King, Wave, 2001”. Public Art Online. Web.
9. “Stephen Beardsell, Seeds of Time”. Stephen Beardsell. Web.
10. “The Unilever Series: Doris Salcedo: Shibboleth”. Tate.org. Web.

Footnotes

1. “Greg Johns, Returning Figure, 2011”, Sculpture by the Sea, 2014. Web.
2. Ibid.
3. Stephen Beardsell, Seeds of Time”, Stephen Beardsell, 2014. Web.
4. Ibid.
5. “Sophy King, Wave, 2001”, Public Art Online. Web.
6. “Stephen Beardsell, Seeds of Time”, Stephen Beardsell. Web.
7. Ibid.
8. “New York City Waterfalls, Olafur Eliasson”, Public Art Online. Web.
9. “Olafur Eliasson, New York City Waterfalls”, Today in Art. Web.
10. “Christo and Jeanne Claude, The Gates”, Christo Jeanne Claude. Web.
11. Ibid.
12. “Antony Gormley, The Shitting Man”, The Guardian. Web.
13. Ibid.
14. “Richard Serra, Sheet Metal Construction”, Andrew Carmellini. Web.
15. The Unilever Series: Doris Salcedo: Shibboleth”, Tate.org. Web.
16. “Doris Salcedo, Turbine Hall, Shibboleth”. ART21. Web.
17. “New York City Waterfalls, Olafur Eliasson”, Public Art Online. Web.