Microscopium/Telescopium is an artwork that bridges the tangible aspects of the intersection of the Community, the Academy and the Student with the intangible energy created by this collaboration. The installation is made with two primary references, the vase and a constellation. Anchoring the artwork are three vases, each bound to a rich history by both form and content. Each vase is named in Latin as follows Academia - the Academy; Civitas - the Community; Discipulus - the Student. From these containers emerges the constellation Microscopium/Telescopium. Discovered in the 1750's these two constellations symbolize the broad spectrum in which we perceive our world, from the microscopic to the infinite. The constellation created in this work is a complex cluster of lines and dots, an abstraction designed to create an great visceral sensation.
1. The Concept
In their RFP, the University defined the following vision:
Remaining consistent with the the bulk of my work, that I "tag" a historical reference, I designed a piece that combined conceptual references with a visceral element.
2. Design and Planning
The RFP defined the dimensions of various spaces with the only depth stipulation, that the pieces not conflict with ADA requirements. I picked a space 10 ft. high by 15 ft. wide.
In addition to having the committee select the piece for the CEC building, I wanted to design the project on the computer, create plans, modify and build from that point of origin.
I used 3D Studio Max to design the piece. The sculpture had to be able to be assembled in components so it could broken down to fit through an ordinary doorway.
The text was cut with a CNC water jet cutter. Though it was pricey, I never would have obtained that precision with my plasma cutter.
There are two Open Source programs that I have used to adapt my 3D Max designs to a real 3D object, Pepakura and 123D Make. In this situation it seemed easier to use Pepakura to generate the patterns.
I had a local architectural printer print a scale plan for me. This became a important reference throughout the build, particularly when I was fabricating the constellation.
I enlarged the Pepakura plan in Illustrator, printed and cut out the initial templates.
I then created a full size cardboard model, that I would eventually make out of sheet metal.
From the cardboard model I made wood templates that I could use as a guide with the plasma cutter.
3. The Fabrication
After cutting and bending the sheet metal according to each individual piece, I welded the various shapes together to create the vase.
I traced the outline of the text onto the steel and drilled 3/8" holes so each letter could be welded several times from the back.
From the beginning, I was very interested in the contrast of the grey raw steel with the silver grinding marks along the seams. The ceilings in my shop are only 8' high. The final piece was design to be close to 10' high. To build the complete piece I had to lie it down on the floor, trying to emulate the exact lines of the final installation space.
Refering back to the original plan, I carefully measured lengths and angles to create the constellation out of 1"x1" square tubing.
The constellation was built in 3 separate pieces so it would fit through the door. The picture below show 2 vases with one of the pieces. My plan was to anchor the piece to the wall using toggle anchor bolts into drywall. Theoretically all the weight would be sustained by the vases, only needing the piece to stay snug with the wall, hence the anchors. Here I'm testing my theory in my studio.
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Three of us installed the piece in about an hour and a half. We attached the constellations to the vases. Marked the holes. Moved the pieces back from the wall and drilled out the holes. Put the toggle bolts through the prescribed holes in sculpture and slid the piece back up against the wall fitting the toggles into the holes in the drywall.
