View allAll Photos Tagged polyurethane
youtu.be/j1Q9ppPPHjU. - Bjork - Earth Intruders
A Futuro house, or Futuro Pod, is a round, prefabricated house designed by Finnish architect Matti Suuronen, of which fewer than 100 were built during the late 1960s and early 1970s. The shape, reminiscent of a flying saucer, and the structure's airplane hatch entrance has made the houses sought after by collectors. The Futuro is composed of fiberglass-reinforced polyester plastic, polyester-polyurethane, and poly(methyl methacrylate), measuring 4 metres (13 feet) high and 8 metres (26 feet) in diameter.
Микрофото с объективом Mitutoyo M Plan Apo 20x0.42 с Raynox DCR-250 в качестве тубусной линзы. Стэкинг
Description in English and Dutch:
English
A century ago, a very special find was made during dredging work in the beautiful city of Nijmegen. An original Roman mask has then been extracted from the deepest caverns of the historic river Waal. It is very special, because worldwide only 150 to 200 such combat masks have been found. The mask dates from the first century AD and was worn in real battles as well as in parades and tournaments. The mask was attached to the helmet with some kind of hinge. The appearance of the mask was also intended to instill great fear in the opponent. The Roman owner will undoubtedly have enjoyed it a lot then. The mask has been an absolute showpiece in the Valkhof museum in Nijmegen for quite some time now. After seeing the mask in the museum, the Nijmegen artist Andreas Hertfeld fell in love with it and it inspired him to make a mega-sized replica of it. After he was elected to create a public artwork for the municipality, he decided to start this mega project 'De Uitkijk'. He has worked for years at a shipyard on the art project, better known in Nijmegen as 'The Face of Nijmegen'. The costs for this municipal project eventually ended up at about 100000 euros! The imposing and extremely impressive work of art is located on the city island of Veur-Lent in Nijmegen along the river Waal. At the back of the public artwork you can climb to the eye holes via a staircase. Through the eye holes you can see the city of Nijmegen with a Roman view. The design of the 6 meter meter high (6.5 yards) and 4.5 meter (4.9 yards) wide Roman face mask sculpture is made from several pieces of steel. These steel pieces are then welded together. The sculpture has also a layer of polyester and a filling of polyurethane foam. It has become a real landmark of the oldest city of The Netherlands.
Nederlands
Iets meer dan een eeuw geleden werd er tijdens baggerwerkzaamheden een zeer bijzondere vondst gedaan in de Nederlandse stad Nijmegen. Een origineel Romeins masker is toen uit de diepste krogten van de historische rivier de Waal tevoorschijn gekomen. Zo'n vondst is heel erg speciaal, want wereldwijd zijn er slechts 150 tot 200 van zulke gevechtsmaskers gevonden. Het masker stamt uit de eerste eeuw na Christus en werd zowel gedragen bij echte gevechten als ook bij parades en toernooien. Met een soort scharnier zat het masker vast aan de helm. Het uiterlijk van het masker was ook bedoeld om de tegenstander veel angst in te boezemen. De Romeinse ruiter die het gedragen heeft, zal er ongetwijfeld veel plezier aan beleefd hebben. Het masker is al geruime tijd een absoluut pronkstuk in museum Het Valkhof in Nijmegen. Op het moment dat de Nijmeegse kunstenaar Andreas Hertfeld het masker in het museum heeft gezien was hij zeer onder de indruk en heeft het hem geïnspireerd om er een megagrote replica van te maken. Het ontwerp van het zes meter hoge en 4,5 meter brede Romeinse gezichtsmasker van meer dan 2000 kilo is dus gebaseerd op het pronkstuk van Het Valkhof museum en ik raad het iedereen dan ook aan om dit museum ook te bezoeken. De creatieve genius met Duitse roots heeft jarenlang op een scheepswerf gewerkt aan het kunstproject 'De Uitkijk' dat in Nijmegen meer bekend is onder de naam 'Het gezicht van Nijmegen'. Het imposante en uiterst indrukwekkende beeldhouwwerk heeft een ton gekost en staat inmiddels op het eiland Veur-Lent in Nijmegen langs de Waal. Aan de achterkant van het openbare kunstwerk kun je naar de ooggaten klimmen via een trap. Door de ooggaten heen zie je dan de stad Nijmegen met een Romeinse blik.. Het sculptuur heeft een laagje polyester en een vulling van purschuim. De creatieve kunstenaar heeft het beeldhouwwerk gemaakt van verschillende stukken staal. Deze staalstukken zijn vervolgens aan elkaar gelast. Het is een echt herkenningspunt van de oudste stad van Nederland geworden.
Vancouver, British Columbia, Canada
The Drop is a steel sculpture resembling a raindrop designed by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us".[1] The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.
Vancouver is a major city in Western Canada, located in the Lower Mainland region of British Columbia. As the most populous city in the province, the 2021 Canadian census recorded 662,248 people in the city, up from 631,486 in 2016. The Metro Vancouver area had a population of 2.6 million in 2021, making it the third-largest metropolitan area in Canada. Greater Vancouver, along with the Fraser Valley, comprises the Lower Mainland with a regional population of over 3 million. Vancouver has the highest population density in Canada, with over 5,700 inhabitants per square kilometre (15,000/sq mi), and the fourth highest in North America (after New York City, San Francisco, and Mexico City).
Vancouver is one of the most ethnically and linguistically diverse cities in Canada: 49.3 percent of its residents are not native English speakers, 47.8 percent are native speakers of neither English nor French, and 54.5 percent of residents belong to visible minority groups. It has been consistently ranked one of the most liveable cities in Canada and in the world. In terms of housing affordability, Vancouver is also one of the most expensive cities in Canada and in the world. Vancouverism is the city's urban planning design philosophy.
Indigenous settlement of Vancouver began more than 10,000 years ago and included the Squamish, Musqueam, and Tsleil-Waututh (Burrard) peoples. The beginnings of the modern city, which was originally named Gastown, grew around the site of a makeshift tavern on the western edges of Hastings Mill that was built on July 1, 1867, and owned by proprietor Gassy Jack. The Gastown steam clock marks the original site. Gastown then formally registered as a townsite dubbed Granville, Burrard Inlet. The city was renamed "Vancouver" in 1886 through a deal with the Canadian Pacific Railway. The Canadian Pacific transcontinental railway was extended to the city by 1887. The city's large natural seaport on the Pacific Ocean became a vital link in the trade between Asia-Pacific, East Asia, Europe, and Eastern Canada.
Vancouver has hosted many international conferences and events, including the 1954 Commonwealth Games, UN Habitat I, Expo 86, APEC Canada 1997, the World Police and Fire Games in 1989 and 2009; several matches of the 2015 FIFA Women's World Cup including the finals at BC Place in downtown Vancouver,[15] and the 2010 Winter Olympics and Paralympics which were held in Vancouver and Whistler, a resort community 125 km (78 mi) north of the city.[16] In 1969, Greenpeace was founded in Vancouver. The city became the permanent home to TED conferences in 2014.
As of 2016, the Port of Vancouver is the fourth-largest port by tonnage in the Americas, the busiest and largest in Canada, and the most diversified port in North America. While forestry remains its largest industry, Vancouver is well known as an urban centre surrounded by nature, making tourism its second-largest industry. Major film production studios in Vancouver and nearby Burnaby have turned Greater Vancouver and nearby areas into one of the largest film production centres in North America, earning it the nickname "Hollywood North".
IMG_1471c 2023 03 24 file
"Untitled, 2022" by Ryan Goolsby
wood/paint/polyurethane
"Erin Cluley Gallery Exhibit" viewed at WFMA
Wichita Falls, TX
The Drop is a steel sculpture resembling a raindrop by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.
According to the City of Vancouver Public Art Registry, The Drop is a blue 65-foot (20 m) tall sculpture depicting a "large, gentle 'raindrop' captured in its descent at the moment of contact". The central "spine" of the sculpture is composed of steel and covered with Styrofoam and blue polyurethane. The piece's color complements the sky and contrasts with the large yellow sulfur piles visible on the opposite shoreline.
The Drop was commissioned as part of the Vancouver Convention Centre Art Project and marked the first North American project for Inges Idee, a group of four German artists. The sculpture was installed in 2009 at Bon Voyage Plaza (adjacent to the Vancouver Convention Centre) at the end of Burrard Street, along the waterfront in the Coal Harbour neighborhood of downtown Vancouver. The piece was removed temporarily during the 2010 Winter Olympics for interrupting the view of the television cameras.
The Vancouver Observer referred to the sculpture as the "quintessential Vancouver piece". According to the publication, The Drop has a "playful relationship with the viewer" and serves as a "big inside joke" for Vancouver residents. This refers to the high amount of rain the city receives; Vancouver is Canada's third most rainy large city, after Abbotsford and Halifax, with over 162 rainy days per year.
Two women, 2005, Ron Mueck (b 1958). Polyester, fibreglass, silicone, polyurethane, aluminium, wire, steel, wool, cotton, nylon, synthetic hair, plastic and metal.
Mueck worked with Jim Henderson creator of the Muppets and established his own company that specialised in photo-realistic props and animatronics.
The old ladies are huddled together as if gently bracing themselves from the cold. They peer outward with expressions that suggest suspicion and vulnerability.
Ячейки сетки из пенополиуретана. Флуоресценция. Макро одним кадром с объективом Leitz Wetzlar Focotar 50mm f/4.5. Освещение УФ-светодиодом 365nm со светофильтром ZWB2
Different POV www.flickr.com/photos/125201798@N07/42901589294/in/datepo...
CAGED FOAM
(FRANCE)
Five actors, 1,000 liters of polyurethane foam, music and two hours of show. Completely dressed in white, five unusual characters are enclosed in five separate cages. From their suits, a different color of foam appears, which slowly and slowly grows to solidify, immobilizing the characters in their cages.
Thank you for your visits, favs and comments !
The Cardboard Cathedral, constructed as simple A-frame structure from 98 equally sized cardboard tubes and 8 steel shipping containers, is said to be one of the safest, earthquake-proof buildings in Christchurch. Aside from the building’s structural integrity, each paper tube is coated waterproof polyurethane and flame retardants while protected by a semi-transparent, polycarbonate roof.
0512
Helsinki - Moments
A Futuro house, or Futuro Pod, is a round, prefabricated house designed by Finnish architect Matti Suuronen, of which fewer than 100 were built during the late 1960s and early 1970s. The shape, reminiscent of a flying saucer, and the structure's airplane hatch entrance has made the houses sought after by collectors. The Futuro is composed of fiberglass-reinforced polyester plastic, polyester-polyurethane, and poly(methyl methacrylate), measuring 4 metres (13 feet) high and 8 metres (26 feet) in diameter.
Vancouver, British Columbia, Canada
The Drop is a steel sculpture resembling a raindrop by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project.
The Victoria and Albert Museum (often abbreviated as the V&A) in South Kensington, London
The V&A Rotunda Chandelier, created in 2001, is one of a number of works from Chihuly's 'Chandelier' series begun in 1992. Chihuly works extravagantly in richly-coloured blown glass, drawing on the historic techniques of the Murano glassworks in Venice. He was initially intrigued by the space-changing potential of the chandelier form, and has succeeded in massing colour, shade and light alongside a driving sense of movement.
Made by Dale Chihuly and his studio team in Seattle, Washington State, USA, each separate glass element of the V&A Rotunda Chandelier was either free-blown, or was mould-blown into ribbed moulds. Each element is coated inside with polyurethane adhesive and was tied on individually with stainless steel wire to an armature welded from steel rod. A team of six started wiring on from bottom to top and took over five days to complete the work.
An earlier version 'Ice Blue and Spring Green' was originally installed in the Grand Entrance of the V&A in 1999. This was modified and enlarge in 2001 to form the present V&A Rotunda Chandelier.
My waterproof rain jacket.
100% Polyester with Polyurethane (PU) Backing.
Macro Mondays: Cloth
Happy Macro Monday!!
Claes Oldenburg
American, b. 1929
Molded polyurethane relief over lithograph
Portland Museum of Art in Portland, Maine
Tiny TPU (thermoplastic polyurethane) hair bands spilling out of the can I keep them in. Maybe I should get some blue ones to mix in with the rest.
Shot with my trusty plastic fantastic, Cosina 100mm f3.5 MC Macro @f8.
HMM!
Vintage Chest Has Textured Polyurethane Finish, Blossom White, Custom Legs... Tree painted with acrylics and India Inks also has small mirrors glued all over tree leaves for cool effect
It was a cold and windy day under a colorless sky, but neither snow nor rain nor heat nor gloom of night could stay these surfers from the swift completion of their appointed rounds...😁
Cast Polyurethane, Glass-filled Nylon, Stainless Steel components.
4 "wide x 7" tall x 3.5"deep (10cm x 18cm x 9cm)
On display at Contempt's Tenth Anniversary Black and White Ball
Minneapolis Sculpture Garden. Spoonbridge and Cherry sculpture by Artist Claes Oldenburg and his wife Coosje van Bruggen. Stainless steel and aluminum painted with polyurethane enamel. Erected 1988.
The door is assembled, squared, and ready for the three coats of polyurethane to make it nice, smooth, and best of all protected against nicks and dings.
Theme: Re-Creation
Year Nine Of My 365 Project
Took me 7 month to build this P Bass for my son. Okoume wood body with a rock maple neck polyurethane finish.
'Barbiecore' has been a hot fashion trend of late and as some of you know I love the colour pink but I can't wear sleeveless dresses. My arms and shoulders are too ugly for sleeveless and besides this dress was made for 19 year old wannabe Barbies and it's been decades since I was anywhere near 19! What was I thinking???!!!
Dow produces Methylene Diphenyl di-Isocyanate (MDI), an important basic raw material in the production of polyurethane.
Note: This photo looks better enlarged(click L or +)
____________________________________________
A deadly fire occured in the Colectiv nightclub in Bucharest, Romania on October 30, 2015, killing at least 55 people and wounding more than 140.
The fire, the worst such incident in Romania in the last 20 years, occurred during a free concert (with about four hundred people inside attending) performed by the heavy metal band Goodbye to Gravity to celebrate the release of their new album, Mantras of War.
The band's pyrotechnics ignited the club's flammable polyurethane acoustic foam (after the song The Day We Die.....) and the fire expanded very quickly.
Three members of the band were killed, too, and the other one was (heavy) injured during this tragic event.
Romania's government has declared a three-day national mourning after this tragic event.
Thousands of candles were lit in memory of the victims on the sidewalk in front of the nightclub
PS. Strange coincidence: One of the last hits performed by the band Goodbye to Gravity before the deadly fire was...” The Day We Die „
www.youtube.com/watch?v=APQLbhk-rfY
Here are the last minutes before the disaster:
www.youtube.com/watch?v=mtDHvKJYzhU
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Many Thanks to the +3,150,000 visitors of my photographic stream
===============================================
© Ioan C. Bacivarov
All the photos on this gallery are protected by the international laws of copyright and they are not for being used on any site, blog or forum, transmitted or manipulated without the explicit written permission of the author. Thank you in advance
Please view my most interesting photos on flickriver stream: www.flickriver.com/photos/ioan_bacivarov/
Many thanks for yours visits and comments.
Silicone, silk, human hair, acrylic, nylon, polyurethane foam, timber.
This is the first sculpture that one sees in the Sam Jinks exhibition at the QVMAG in Launceston. One is gripped immediately by the beautiful scene of an elderly woman with a baby. They are so present in the room under that lighting, and a tribute to the hyperreal form that the sculptor employs.
The task for the photographer is to interpret the scene, by the use of existing gallery light (low lumens), and any background information including shadows and point of view.
Polyurethane finish on the floor of a small dollhouse I’m building. It took three days to dry, but it was worth the wait.
MUAHAHAHAHA! Ahem.
What with all my casting efforts recently, it seemed to make sense to try some different (and hopefully more frugal) materials. I ordered some Composimold on Amazon a few weeks ago; it's a remeltable mould-making material you heat in the microwave. I did like silicone and the effects I could get, but it was getting kind of pricey, and I'm not even that good at mould-making, so I was basically wasting quite a lot of it on poor attempts.
This is my latest Composimold attempt, with a resin cast in progress inside. I thought it looked like a sci-fi prop of clones growing in a jar or something... not that far from the truth, really. ;)
This cute guy was waiting for his star hour for quite a long time. But now I've finally painted him (using acrylic paints and some gilding) and soon hi will be on Ebay auction with a quite low starting price - just 100$! Stay tuned!
painted layers of polyurethane to create this octopus. yes, it is only paint!!!! if you exrayed it, there would be nothing inside! was going for a breath with out life experience!
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.