Sculpture Source

Sculpturesite's Booth at LA Art Show

Can you really distinguish yourself when you are but one of 110 galleries in a show of over 15,000 works of art from a myriad of genres including painting, sculpture, works on paper, photography and video?  Is it possible to stand out in a crowd of an estimated 35,000 serious collectors and dedicated art enthusiast all buzzing around a 720,000 sq/ft convention center?  Sculpturesite Gallery answered those questions at the FADA LA Art Show with a resounding – yes, you can!

The event started inauspiciously with rain, rain and more rain.  On average, the sun shines on Los Angeles 338 days a year. Sunny Southern California did not, at first, live up to its promise.  However, while it tended to dampen a few heads and shoulders it could not dampen the enthusiasm of the thousands who attended.  And when the flood of water finally receded on Saturday, the flood of people arrived.  John Denning and Brigitte Micmacker, the owners of Sculpturesite, were more than ready to receive them.

Word spread quickly.  There was a booth near the food court, open at three sides, perfect for foot traffic, which was meticulously planned and presented.  It looked more like a gallery than a booth.  In conversational circles of attendees, Sculpturesite’s space was called “the best booth for sculpture,” and while there, you could see “the best works in the entire show.”  Said another attendee: “your booth is such a breath of fresh air – so lively and light.” It was obviously attracting attention.

“Dark Blue Rain-Curtain”, a massive, yet delicate cast glass piece by Mary Shaffer and “Summer”, a hyper-realistic swimmer resting on an inner-tube (both in meticulously painted resin) by Carole Feuerman were described by many as show stoppers.  The same could be said for the majestic Jeffery Laudenslager kinetic piece, “Hokusai.”  It had a prominent place in the middle of the food court -but will soon relocate to its new permanent home in Malibu.  The rest of the collection was wonderfully varied allowing something for everyone.  Jane Woolverton’s delicate recycled, plastic tapestries played off the monumental material and feel of Benjamin Brown’s steel and glass and Hans Van de Bovenkamp’s bronze.  Brad Howe’s playful mobiles stood in perfect contrast to the elegant pieces of Clement Meadmore.  These sculptures did speak for themselves but for those who wanted more, Mary Shaffer, Carole Feuerman, Jeffery Laudenslager, Brad Howe, Benjamin Brown and John Denning were all present to talk about their work.

All who attended had a memorable experience.  We at Sculpturesite greatly appreciate all who attended. If you would like more information on any of the works or artists you saw, please let us know. If you were unable to see the show, we will be glad to send more photos. And please stop by Sculpturesite Gallery.  Many of the pieces that we displayed at the LA Art Show are now currently on exhibition in San Francisco.  We will see you soon!

Here at A New Leaf Gallery, we find ourselves fortunate to be located at Cornerstone Sonoma. Chosen as one of the 100 Gardens to See Before You Die, Cornerstone features 22 installations created by renowned landscape designers. The gardens and the sculptures within them demonstrate the seamless integration of art and nature. Both owe their beauty to the elements and in some cases, to the wind in particular.

One especially intriguing garden is the work of San Francisco designer John Greenlee. Mediterranean Meadow consists entirely of undulating hills and valleys blanketed in tall grasses, native wildflowers and perennials. John conceptualized the garden as a nod to Sonoma’s traditional grasslands. Where grapevines now march acre upon acre across the rolling hills, cattle and sheep used to graze by the thousands.

Stepping into the meadow, a path paved with low grass winds in and out, up and down through waving stems of green and gray. The visitor’s pace slows as the whisper of grasses, a blinding blue sky, and tiny explosions of wildflower color mesmerize the senses. Birdsong pierces poignantly through the wind’s constant whistle and time slows to a crawl.

Suddenly, a glimpse of a dancing kinetic sculpture beckons. Around a bend in the path, Moto Ohtake’s Stellar Motion glints and spins above bobbing seed heads. Continuing down a dell and parting magenta stems alive with movement like ocean waves, Troy Pillow’s colorful Orion wind sculpture sails into view, planted firmly in the ground like the grasses surrounding it.

Voyaging further, the masts of Jeffery Laudenslager’s magnificent Hokusai (named in homage to Hiroshige’s wave woodblock print) rise and fall in a meditative spiral to complete the journey.

As the wind sculpts the hills and shapes the undulating movement of the meadow, it also works its magic on the kinetic sculptures punctuating the landscape in a delightful interplay of man-made and natural elements.

Since I’m new here at the gallery, I spoke to a few artists who focus on wind sculptures to get a better idea of what they take into consideration when designing a piece. In addition to the overall artistic concept, I was curious to learn what attributes can enhance or detract from the beauty and stability of each work of art.

As with other forms of three-dimensional art, material choices are critical to a successful kinetic piece, and variables such as weight, bearing strength, cost and durability are key considerations.

Artists told me that using a heavy material such as stainless steel makes the sculpture more challenging to create and transport, but can add to its structural stability in high winds. Aluminum can be worked in thinner sheets, but because it isn’t as strong as steel, it may have difficulty supporting its own weight, or the weight of other modules of the structure.

Jeffery Laudenslager mentioned that titanium is only slightly heavier than aluminum and is stronger than stainless steel, so titanium kinetic sculptures can be made which are 50% lighter and stronger. However, the material cost is ten times more by weight due to the high price of the material. Tradeoffs, tradeoffs!

In terms of durability, stainless steel is suitable for all climates. In more humid areas or in areas near the ocean with salt in the air, annual treatment with a rust preventative is needed. Titanium is virtually immune to corrosion and holds up well in the elements, but again, there’s that issue of cost.

Plastic is another material which is sometimes used for kinetic sculpture. Due to its relatively light weight in comparison to metal, it’s most often seen in the suspended modules of indoor pieces so that the movement remains subtle. Tim Prentice is currently working with elegantly engineered and precisely balanced plastic forms that dance on the slightest of air currents.