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Description:
The concept is two-fold. The first is the
celebration of the Rio Salado’s location of a development site
through the interpretation of river geology, water and plant life.
The second is the artistic acknowledgement of the restrictions
placed on the development site. Because of the proximity to Phoenix
Sky Harbor International Airport, no water features were permitted
as they might attract birds. Because aquifers are associated with
water and the artist was restricted from using real water, the piece
features abstract shapes to imply the flow of water over spillways
and onto a dry riverstone water basin. While real water will attract
real birds, faux water attracts faux birds. A series of abstract,
wavy-winged birds, of a wingspan of three feet are located atop each
light column and a single bird atop the main element. Each bird is
mounted with a heavy duty spring feature that allows each bird piece
to move ever so slightly in the wind.
Funding:
This project was funded by the individual developer as a requirement
of Tempe's Art in Private Development Ordinance.
Artist biography:
Brant has more than 35 years experience in a variety of projects and
media throughout the western United States. David was formally
educated in landscape architecture and trained in a variety of
artistic arenas. For 20 years prior to the formation of the company,
IDEA, he held responsible positions with design firms throughout
Phoenix and Southern California, and was a founding partner in a
major southwest landscape architecture firm. Brant is responsible
for all aspects of IDEA’s projects, utilizing his award-winning
experience in project theming and story rendition through landscape
architecture, urban design, architecture, public art and graphic
design.
Artist statement:
Despite the continuous change in his
artistic style, one common thread unites each project he undertakes.
No matter how small or large the piece, it must not only “fit” into
its environment, but also abide by the rules of simplicity, wherein
each element serves a specific purpose. Be it sculpture, painting,
reprographic or photographic art, or a piece of furniture, no line
therein exists in vain. Moreover, the piece must contribute to the
environment in which it lives, both by borrowing elements from its
surroundings to create cohesion, and by reflecting a component of
the “story” of the space to synthesize its purpose with its
environs. His palette, therefore, exists only of those materials
that are appropriate to the surrounding environment, and is, thus,
ever changing. “The art is the place and the place is the art,” he
said. |
