Dance of the Cosmos

Dance of the Cosmos

photo by Michelle Atkinson
90″ x 240″ x 240″
steel, concrete, pigment, acuator, solar panel and electrical accessories

Corpus

paint on steel, 24″ x 60″ x 96″

This piece is a full size sculpture that was originally made as a smaller wall sculpture and study, “Santa Maria de Fiore.”
The name is from the basilica in Italy from which the geometry of the floorplan inspired this piece.
Corpus, however, hangs at 40″ off of the floor, suspended from the ceiling from rods and chains.
It is proportioned for a person to lay on the ground under the piece and see themselves reflected in it, as well as to walk around it at approximately chest height for an adult.
The cruciform shape of a basilica is taken from the human form, and with this piece is brought back to human scale.
Its surface is painted as skin on a body.

 

 

Four Gates at Austin City Hall

Four Gates

 

Steel, wood, ink, chalk, hardware, 98″ x 120″ x 120″

Read my writing about the process of making the Four Gates:

Planning the piece

Getting the wood base cut

My inspiration for the sculpture Four Gates is from Mark Helprin’s novel The Winter’s Tale.

There is a short chapter at the end of the first third of the book, page 219, titled Four Gates. Here is an excerpt from the chapter:

“To enter a city intact it is necessary to pass through one of the new gates. They are far more difficult to find than their solid predecessors, for they are tests, mechanisms, devices, and implementations of justice. There once was a map, now long gone, one of the ancient charts upon which colorful animals sleep or rage. Those who saw it said that in its illuminations were figures and symbols of the gates. The east gate was that of acceptance of responsibility, the south gate that of the desire to explore, the west gate that of devotion to beauty, and the north gate that of selfless love.

The steel circles have four different diameters, 78″, 84″, 90″, and 96″ so that four different average sized adults can stand in the circles and expand the geometry of their reach to their biggest selves, as in Vitruvius’ drawing.  I inscribed on each of the four gates a section of the sentence above.  After conversations with friends, I chose the North Gate, that of selfless love, to be the largest. The largest and the smallest are opposite each other, and the two middle sized are opposite each other. When four people expand themselves inside the circles, they create a sculptural human community.

This sculpture was the focal point of the show. The “Four Gates Drawings” were made from these circles laying down on paper.

 

Four Gates from the East
Four Gates from the East
Sacred Space at the Dougherty Art Center
Four Gates from the West
Large Metal Circular Sculptures Installed
Photo by Ricardo B. Brazziell
Liana Putrino, Megan McIlwain and Katy Hirschfield in the gate of beauty sculpture, Sacred Space Art Party
Liana Putrino, Megan McIlwain and Katy Hirschfield in the gate of beauty, of course
Bright blue exterior of Full Bloom sculpture

Full Bloom

paint on steel, concrete, 48″ x 62″ x 62″, 2013

Full Bloom is about the intensity of the compacted self. It is a mini temple for one person. It has a painting on the outside of the dome and another on the inside of the dome. The space is small, so only smaller adults or children might have the idea to go under it, so the inside is meant to be a surprise for the curious. Full Bloom has two different shapes painted on it in repeating patterns, “I Am Free” and “Beautiful Mess”. It is made from one 37″ diameter steel hemisphere with four 12″ hemispheres attached to the sides at an angle. The steel domes sit on top of four concrete columns made of stacked cylinders of concrete.

Full Bloom Inside
Underneath, looking up

 

 

Full Bloom and Drawings
Full Bloom and Drawings at the Dougherty Art Center

 

 

Full Bloom and Circle Walk Drawing
Under Full Bloom and Circle Walk Drawing

 

Looking down on top of Shining Apollo sculpture

Shining Apollo, Descending Apollo

Shining Apollo: paint and patina on steel, concrete, 92″ x 88″ x 88″, 2013

Descending Apollo: the drop from the dome, paint and patina on steel, 60″ x 60″ x 6″, 2013

Sculpture as a tribute to the sun. The shape was chosen by making many quick ink drawings to find dynamic shape that worked well in circular composition.

Click on this post to see the process of making Shining Apollo.

 

 

 

 

 

photo by Melissa Bartling

Larger gallery view of Fire Ring sculpture hung from ceiling above Fire Ring sculpture on the floor of the gallery

Fire Ring

Fire Ring Room View

oil on aluminum, 60″ diameter x 14″ sits on floor, and one 14″ x 34″ x 54″ hanging, 2012

From the drops of Reach and Revive. Shown here with decorations for the Umlauf Sculpture Garden Party.

Fire Ring Ceiling Fire Ring Floor Fire Ring before install

Blue Arc and Hook sculpture installed in gallery

Hook and Arc

Arc and Hook

oil and mixed media on aluminum, 18″ x 46″ x 24″ and 18″ x 52″ x 24″, 2012

From the drops of Heaven and Hell.

Side view of Hemisphere sculptures, hanging on gallery wall

Group of Hemispheres

Hemispheres installed at the Dougherty Art Center solo show Sacred Space, and in other shows and events.

Steel hemispheres plasma cut marks and paintings and drawings on the surfaces. Sizes range from 1.5″ to 12″
Contact for sizing information for specific pieces.

 

Hemispheres Side View
photo by Paul Bardagjy

I Am The Cosmos

 

mixed media on steel spheres, diameter varies from 12″ to 2″

 

I Am The Cosmos
Photo by Paul Bardagjy
I am the Cosmos, Rose Planet Hemisphere sculpture, hanging from gallery wall
I Am the Cosmos, detail
I Am The Cosmos, Eclipse Hemisphere sculpture, hanging from gallery wall
I Am the Cosmos, detail
I Am The Cosmos, Ink on Rust Hemisphere sculpture, hanging from gallery wall
I Am the Cosmos, detail
I Am The Cosmos Cold Planet
I Am The Cosmos Detail of Cold Planet

Planet like installation of steel spheres, using diverse techniques of drawing into the steel with a plasma cutter; drawing on the surface with different paints, chalks, and charcoals; etching the surface of the steel with various chemicals and patinas; all in fun and playfulness while I worked more strategically on bigger pieces. I am the cosmos, you are the cosmos, we are all part of the cosmos.

Abacus

Performative drawing piece, 72″h x 110″w x 20″l, ink on adding machine paper on steel armature, 2012

Thinking about ink drawings as an artistic practice and a way of marking time, Abacus was a performative art piece created for The Brightest Party Ever for Leadership Austin at the Long Center, and then showed at Austin City Hall. Using adding machine paper and a steel armature to create a counting machine, individual ink drawings were created along the length of the paper, adding together the shapes and the time. Long strips of drawings were given to viewers as a memento of time spent and created.Abacus, view 1 Abacus, view 4 Abacus, view 4

Abacus, view 2