My installation approach was to add playful spheres that harken back to simpler times as children, playing jacks, shooting marbles, playing 4-square and competing as pinball wizards. The installation is also designed for photo opportunities of wedding parties and families.
When an artist installs any art in a public space, we are often asked how long it took and how did you do it, well…
After months of different ideas presented, refined, budgeted, and scheduled the mosaic fabrication began in my Colorado studio. Beach balls, Bosu balls, and playground balls were sourced to make the forms. I used thinset concrete mortar in many layers over concrete mesh tape right on the balls to form an eggshell like structure. To support the glass tesserae and public interaction the empty shells were filled with a high-density foam with a PVC pipe inserted in the bottom to sleeve over a metal pipe support for mounting.
These 28 spheres were covered with approximately 23,846 one inch stained glass hand cut tiles. The waves were designed to inset into the new concrete using a foam form. All waves were designed in the studio using the foam template before pouring the concrete. These stained glass wave mosaics were taped together and transported for the installation right on site.
As with any large installation I have help in the studio and in the installation.
Thanks go out to: Mosaics–Ippy Farnam, Nataley Person, in Denver
Mosaic installation–Kristine Kollasch, Sarah Lynn Roth
Concrete–Valley Rain and Installation–AZ Art Solutions, , In Scottsdale
Guiding me though the process at Scottsdale Public Arts,
Tanya Galin & Kim Boganey
and lastly but not least my partner in life Rick Tronvig, all things numbers and brawn.
But even with all the help of the individuals mentioned here today this installation is only possible with you the Scottsdale community and your continued support and funding of public art.
Please give yourself a big round of applause. Thank you.