My sculpture is whimsical in appearance, colorful and changing in the landscape, and something I could not have anticipated. It transports voyagers of all ages to other states of mind.
With Yellow Submarine, the spherical form and wings had to be designed with flanges to hold the pieces of colored glass, and porthole-like shrouds to shade the colored glass from direct sunlight. Wing-like forms would arch over and around the sphere to form a glass ceiling. As the sun moved across the sky, the angles of projected color beneath would move, bathing surfaces below in rich, ever-changing color.
Chromacopter is the realization of a long-held desire to improve upon the Yellow Submarine. Much of the color media used was the recently developed dichroic laminated acrylic sheets. This material displays a rich blue or magenta color, a gold mirror surface, or near-transparency, depending upon the viewer’s orientation. It is ideal to exploit natural light to change the appearance of sculpture in the landscape.
When not on exhibition, the Yellow Submarine appears as a sculpture parked on my front lawn. Its conception began when I was an art student experimenting to find a means of removing stained glass from its architectural setting. I wanted to infuse landscape sculpture with the light-animated colors of stained glass. The name has little to do with its conception. A vehicular name was required, and the popular Beatles’ film provided it.
To compete with nature, sculpture must have size, monumental presence, contrast of material, dynamism, a surface that dazzles in the light.
To combine both mechanical and balanced motion in an aesthetic form of sculpture is difficult. Gravity, usually man’s friend, becomes a wily antagonist. That a moving form can achieve balance is immensely pleasing.