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Posts Tagged ‘transitory’

Photo: Simon Beck.
Simon Beck makes giant, transitory earth art using snow in the mountains or sand on the beach. Especially with beaches, it’s a race against time.

Here’s an artist who knows “you can’t take it with you.” And that’s OK. To him, all art vanishes. His just vanishes sooner.

Maggie Penman writes at the Washington Post, “Simon Beck’s work is, by its nature, temporary. For two decades, Beck has been using his feet to make intricate designs in fresh snow and on beaches. A former mapmaker, Beck designs many of the drawings ahead of time on paper. Then he spends 12 hours alone with a compass, walking in snowshoes to create complex patterns. Some designs resemble snowflakes, stars or flowers. Others include messages or peace signs.

“ ‘In mapmaking, you’ve got something in existence on the ground, and you’ve got to reproduce it in small scale on paper by measuring it,’ Beck said. ‘Making one of these drawings is the same process in reverse.’ Beck mostly works in France, but his art is seen all over the world on social media.

“At 67 years old, Beck has made nearly 700 artworks in sand and snow, and he said he aspires to make at least a thousand. The first time he tried making a pattern in the snow, in 2004, it was just an experiment. He started occasionally posting his snow and sand art. After a few years, he realized how many people were connecting with his work, and he started to dedicate himsel more seriously. He can work in the snow only from late October until early March, so he has a short season to make as many drawings as he can.

“The patterns can be as large as three soccer fields. After they’re done, Beck photographs them, often using a drone or by perching high on a nearby slope. Then, the drawings melt or are swept away by the wind or skiers — or they’re covered by fresh snow. The ephemeral nature of his work is part of the point. … He’s made hundreds of patterns in the same spots, and every time it snows, he has a fresh canvas.

“When Beck works in sand on beaches, the timetable is even shorter.

“ ‘When the tide starts going down, you have to wait until it’s dry before you can start drawing,’ he said. ‘Typically, you’ve got about five hours to get the drawing done before the tide comes in and starts covering it up.’ …

“ ‘The record was 75 people watching me,’ he said. … The skiing wasn’t very good that day, so dozens of people stopped to watch as Beck completed his work, yelling ‘Bravo!’ and applauding and taking photographs, he recalled.

“Often, though, Beck starts working on a snow drawing around 11 a.m. or noon, and doesn’t finish until around midnight, taking pictures of it the next morning. He eats a hearty breakfast before he starts: two big bowls of porridge with banana. He brings snacks with him for when he gets hungry while working, but he doesn’t take breaks. …

“By the time he finishes, he’s pretty hungry. …

“Beck usually works alone, but doesn’t mind the solitude. He listens to classical music while he works. ‘The Earth is beautiful, and the snow is beautiful, and winter is beautiful,’ Beck said.”

More at the Post, here.

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Christo is known for making impossible-seeming public art, and just recently, he made some again. Margaret Rhodes reported the story at Wired magazine.

“It takes serious engineering to let 640,000 people walk on water. Luckily, that’s exactly the kind of technical and creative challenge that Christo — the artist who wrapped the Reichstag and dotted Central Park with 7,503 orange panels of fabric—excels at. …

“The new project, the ‘Floating Piers,’ comprises two miles of marigold-yellow walkways gently bobbing on top of Lake Iseo, a small lake in northern Italy, connecting the waterside town of Sulzano with two small islands. …

“Making them work was tricky. Marinas often use temporary, floating piers; a common technique involves propping them atop styrofoam cubes. ‘We discovered very soon that this cube system was perfect for us,’ says Wolfgang Volz, Christo’s project manager. So in the fall of 2014, Christo’s team ran a secret simulation of the Floating Piers in Germany. But the styrofoam blocks were too small and too dense.

“So they built their own blocks—220,000 in total. They’re about 20 percent bigger than the ones marinas use, and more buoyant. A Bulgarian company supplied the materials, and Christo hired four different manufacturing companies to ensure they’d have enough.

“Once Christo had his blocks, he, Volz, and a few dozen workers started connecting the cubes into 50- by 330-foot sections. They attached the cubes with giant screws, right on the water, in a corralled section of Lake Iseo.

“One by one, workers pushed the white styrofoam rafts out into the lake and anchored them to 5.5-ton concrete slabs arranged on the lake floor in a configuration conceived by Christo. ‘Very tedious work,’ Volz says. ‘Every day the same.’

“It took four months, with workers doing shifts of two weeks on, two weeks off the job. ‘The same as an oil rig schedule,’ Volz says.’ ” More here.

Temporary, like most of Christo’s work, the walkway was scheduled to come down early this month and get recycled. But it lives on in photographs — and the memories of those who visited and got a chance to walk on water.

Photo: Wolfgang Volz
Christo’s project the “Floating Piers” comprised two miles of marigold-yellow walkways on Lake Iseo in northern Italy. Visitors walked the path without handrails.

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