Ive temporarily installed this work in the studio to tune and prepare it for the NMC early in 2016.
For the evening hours, the Shadow Array will take on a different character with light cast on each individual log. This system will subtly transition through bright and dim sequences aligned with lunar cycles.
The logs have all been placed, the shadows are cast, and now we are fine tuning the lighting for the evenings.
This simple project was one of my first publicly commissioned works that consisted of a granite boulder taken from a troublesome area of Gore Creek, in Vail, Colorado. I placed it in a park and etched the hands of local children into its surface after polishing it as well. Nearly 10 years later this has even more depth for me as my children now get to visit this park with me.
Its a bit like that first stroke or mark with the pencil on the paper. This is the first and shortest of 236 logs that will be placed on the hillsides at DIA. This starts the final phase of this project preceded by a tremendous amount of work and planning by everyone involved.
Indicating the scale of the future Shadow Array at DIA, the structural steel is now in place, waiting to receive the beetle kill logs that have been bleaching in the sun for a year.
Legendary JL of the National Music Centre in Calgary, giving my prototype for the Solar Drones a test drive
St. Patricks well, and its helical passages.
Like many of my projects, the Shadow Array required us to figure out how to uniquely handle, build, and assemble the logs efficiently and with a level of control to meet my desired outcome. The size of these logs and the scale of the Shadow Array required a very different mindset than is typical with most sculptural commissions.