Public Art Submission September 2017: An Homage to Abandoned Battlefields

[Asher Kelman]

When I was a little boy, wearing short trousers, we would persuade the man in the tall wooden box hut to lower the giant signal and then the next troop train would screetch to a halt.

Those GI's were so lively and friendly, throwing out gum and candy. This was our intorduction to two major learning lessons. 1. Was "bubble gum", this was juicy, made huge bubbles, but they could pop and stick over one's face and then 2. if older teenage girls lifted their skirts 6", the soldiers would scream their heads off and shout "Legs, legs". The girls that smiled back and bravely showed an ankle would get thrown nylon stockings!

Also it turned out that I married the daughter of one of those GI's! He was in Patton's army in the Battle of the Bulge and liberated several concentration camps. He told me of the bewildred free prisoners wandering in a daze at the site of American troops and they had to be careful not to make the sick by feeding them too fast.

So imagine my feelings when I heard that an airport that sent air Rangers to England during that terrible war, was being renovated and it emerges as a major Louisianna International Airport. I discovered that they wanted a gateway sculpture to welcome folk, one that was uplifitng and not divisive that would honor those who went to battle in the European Theater.

So here is my offering, Abandoned battlefields on a steel spiral with 3 beacon lights which can play colors according National events.

Asher Kelman: In homage: Battlefields

England Airpark, Louisianna
planned to be 60 ft high, steel ribbon would be 3 ft wide, Mirror Polished,
Battlefields will have actual remnants of battlefields​

I hope all find this concept engaging and positive. The folk remembered, often volunteered at the prime of their lives for a cause that has stood the test of time. For more on the England Airpark, look here.

Asher

 

[Asher Kelman]

BTW, the background is simply from Google Earth of the location. The sculpture is modeled in SolidWorks and light sources are added to make the stainless steel reflect the 3 beacons.

Asher

 

[Asher Kelman]

Feel free to comment with any ideas to help realize this project from an esthetic or technical point of view.

I would be so interested in seeing what others might do if they could join the team and this idea is selected from all the other hundreds of proposals that were submitted!

Asher

 

[Antonio Correia]

Absolutely fabulous, Asher ! Very, very good, Asher ! Appealing !

The helicoid is perhaps - or in fact - a metaphor for all the non-ending wars, the so called Human Race have been doing over the past and will make in the future !

That helicoid is a hell of a structure to hold and secure !

What is that box up there ? It looks like - but it is not - an AC machine.

And what about the other "items" on the helicoid ? I don't like that !

Why end the helicoid with that rectangular shape with "holes" ?

You are going to win - again !

 

[Asher Kelman]

Absolutely fabulous, Asher ! Very, very good, Asher ! Appealing !

The helicoid is perhaps - or in fact - a metaphor for all the non-ending wars, the so called Human Race have been doing over the past and will make in the future !

That helicoid is a hell of a structure to hold and secure !

What is that box up there ? It looks like - but it is not - an AC machine.

And what about the other "items" on the helicoid ? I don't like that !

Why end the helicoid with that rectangular shape with "holes" ?

You are going to win - again !

Hi, Antonio,

To me it's exciting to have a talented architect weigh in on my project. The 3 strange areas are abandoned battlefields. The "junk" on them are placeholders for genuine artifacts from the beaches or Normandy or other battles.

The perforations are a motif that allows the battle area to be seen from below as well as the sides. As for structural integrity and support, there are of course tricks. The lower parts will be much thicker and then thinner as we ascend. In addition there will be horizontal tubular struts to the light beacons, which have steel columns inside!

Asher

 

[Antonio Correia]

Sorry Asher but I am not a talented architect and sorry again, for not liking the "junk".

Without them the monument is more "pure", more genuine, more real !

Don't stick to the WW I or II ! Vietnam, Cambodia, Angola... and so forth.

Thing of all the wars the Human Race does around the World...

Not lecturing you of course...

 

[Asher Kelman]

Sorry Asher but I am not a talented architect and sorry again, for not liking the "junk".

Without them the monument is more "pure", more genuine, more real !

Don't stick to the WW I or II ! Vietnam, Cambodia, Angola... and so forth.

Thing of all the wars the Human Race does around the World...

Not lecturing you of course...

Antonio,

If I say you are a talented architect, then it is so! ?

Certainly you have a refined sense of esthetics and a pure love for humanity, untainted by upbringing!

I do agree with the concept of purity of form. I may simplify the battlefield to a sequence of clusters of holes in the steel. For these are the losses!

The spiral cannot be either perfect or symmetrical as that would idealize war. There has to be homage and respect but not praise for "War" itself as anything but a reserved necessity to protect the vulnerable and dispossessed.

I am open to receiving your challenge!

Asher

 

[Antonio Correia]

Antonio,
If I say you are a talented architect, then it is so!
Asher

Now you made me laugh ! !

LOL LOL LOL

 

[Jerome Marot]

That helicoid is a hell of a structure to hold and secure !

Yes. You are a talented architect and spotted the problem.

 

[Antonio Correia]

Jerome... do not cooperate with Asher ! Please.

I am not talented. I know I am not. But I have no problem about that.
But I know, I am not stupid either ! Just between the two. Average guy !

 

[Asher Kelman]

Jerome and Antonio,

As to the helical structure, I have great faith in my own knowledge of materials and physics, experience in fabricating and, yes even "intuition", as to how I will build this..........of course, always with the immensely critical computer modeling skills of a young female engineer, in Sofia, expert in rolling steel, and my Dutch friend proficient in giant oil platforms and Finite Element Analyssis, solving my crazy challenges, will make my simplistic but too ambitious ideas work flawlessly, LOL!

Asher

 

[Jerome Marot]

Jerome... do not cooperate with Asher ! Please.

I am not talented. I know I am not. But I have no problem about that.
But I know, I am not stupid either ! Just between the two. Average guy !

Quite simply: I know some architects who would not have spotted that particular problem. So in that respect, you are better than they are.

 

[Asher Kelman]

Jerome and Antonio,

As a project like this evolves, dimensions and even materials get changed. So later in this iterative design process, we will have hopefully a plan which delivers the desired pure shape in a form that can be reliably fabricated and within acceptable time constraints and budget.

It's not only the plausibility of building the structure that's critical, but in addition, transporting segments from one fabrication facility to another without damage and without going over limits for city streets. Further there must be ways of assembling the work on site with equipment we can afford to rent. Even then, we need ability to repair incidental damage and maintain the work according to some reliable set of procedures. A simple question, for example, how does one program the lights and from where are they controlled and can a failed light be switched out?

At present, my idea is to have the light beacons each have a central steel column and the outer frosted acrylic shell to diffuse LED lights. The lights will be attached to cables, raised or lowered by pulleys.

Unpolished steel cables from from the central columns will support the helix at intervals.

Asher

 

[Antonio Correia]

Suddenly the helicoid with the "holes" reminded me of a snake.

Snakes "are symbols of rebirth, transformation, immortality, and healing"...

On the other hand, an helicoid is a very dynamic form which I connect to infinity, continuity, perpetuity...

Here, I refrain from other "pessimist" interpretations of mines.

 

[Asher Kelman]

Suddenly the helicoid with the "holes" reminded me of a snake.

Snakes "are symbols of rebirth, transformation, immortality, and healing"...

On the other hand, an helicoid is a very dynamic form which I connect to infinity, continuity, perpetuity...

Here, I refrain from other "pessimist" interpretations of mines.

Incidentally, helically wound snake, motif is accepted to represent medicine! As a physician that is a symbol we are proud to identify with. It connects us throughout history with the greatest healers!

So aren't wars in need for a response like any other malady. In fact if, we think of the coiled snake, isn't war an evil that sneaks up on us and we have to deal with it's poison fangs and crushing coils that take the breath out of us and make us fight for our lives!

So, Antonio, referencing the damage is not being "pessimistic" just wanting to address that evil!

Asher

 

[Jerome Marot]

As a project like this evolves, dimensions and even materials get changed. So later in this iterative design process, we will have hopefully a plan which delivers the desired pure shape in a form that can be reliably fabricated and within acceptable time constraints and budget.

It's not only the plausibility of building the structure that's critical, but in addition, transporting segments from one fabrication facility to another without damage and without going over limits for city streets. Further there must be ways of assembling the work on site with equipment we can afford to rent. Even then, we need ability to repair incidental damage and maintain the work according to some reliable set of procedures.

Good.

Unpolished steel cables from from the central columns will support the helix at intervals.

I am not convinced yet.

 

[Asher Kelman]

Good.




I am not convinced yet.

Fair enough, Jerome.

Remember we have to provide very detailed engineering plans for a structure of this ambitious design. My rule of thumb is that it should be able to withstand an 8.0 Earthquake and winds of 200 mph. As a physician, we are trained to follow the maxim, "First do no harm!" So in design a model, I myself, am the most strict critic. I try to remain humble and not dismiss any question of safety.

Under my watch, the guillotine would never fall!

I will send you drawings and supporting calculations down the road!


That's a promise!


Asher

 

[Antonio Correia]

Unpolished steel cables from from the central columns will support the helix at intervals.

I missed this point.

I am with Jerome. I am not convinced in that point.

However, a 3D model will give important clues to solve the cable problems.

 

[Jerome Marot]

I will send you drawings and supporting calculations down the road!

Just a drawing would do.

 

[Asher Kelman]

I missed this point.

I am with Jerome. I am not convinced in that point.

However, a 3D model will give important clues to solve the cable problems.

Jerome,

Just remember that cables can go from the top of the light beacons to both the inside and outside of the helix. In addition, the helix can be connected by horizontal rods radiating fronthe sides of the light beacons too. Also remember we can design the steel to be thicker at the periphery.

But we have to make drawings and then make it work. I have total confidence that we can build the shape, but as normal with ambitious, non-rectilinear architectural steel, there is ten times more time devoted to design than needed for manufacture. I know my process and methods work, I am skilled and experienced in working with the materials, but until we have final engineering design, drawings and extensive structural analysis, it's all, except the shape, subject to modifications. In the end, the form, itself becomes a stakeholder!

Asher

 

[James Lemon]

This will be a fabulous work of art!

 

[Antonio Correia]

This will be a fabulous work of art!

Indeed ! As I told before: another winner !

 

[Asher Kelman]

Indeed ! As I told before: another winner !

I do hope so! These are National competitions and there about 250 artists that could be competing. Also the judges have to feel that the design is responsive to the needs of their stakeholders. Here it is the developing International Airport and also the heritage of the England Air Park, with a rich history of service, bonding and sacrifice.

One has to design assuming one is going to be blessed with the opportunity to make real everyone's dreams, including one's own. That's how I work. I already feel connected that it's my responsibility and I want to deliver more than I promise!

This is only way to compete!

Asher

 

[Charlotte Thompson]

Asher

Speechless! Significant work- walking away shaking my head ...

Charlotte-

 

[Peter Dexter]

When do you expect to learn of the result?

 

[Asher Kelman]

When do you expect to learn of the result?

Just did! Mine didn't win. These are very competitive and draw in at least hundreds of artist submissions from around the USA and some internationally. For local City art I might go to the open and transparent board meeting where the best works or finalists are discussed.

In one recent competition, several of the artists, referred to by their first names, were obviously very well integrated into the community and they seem to have been communicating back and forth with the judges, ? ?. Amusing but not as bad as our electoral system!

A lasting benefit, of "putting one's hat in the ring to compete", for me, at least, is to be challenged and to have to reach deeply inside one's memories and knowledge for ways to relate to the request for art that fits the local needs and landscape.

This way, I am enriching myself!

The competition for Overland Park has more than 650 competing artists, and we are up to the 4th round. These are very tough art marathons!

Is believing in oneself, so necessary for withstanding repeated disappointment, a sign of delusion or just a necessary set of steps to climb, to eventually have one's high-flying ride on the zip line above the forrest?

Asher

 

[Peter Dexter]

That's too bad but surely you will have another opportunity. Do you have a studio where you make sculpture and do you have gallery exhibits of it? Would be fascinating to see some of your works.

 

[Doug Kerr]

Hi, Asher,

I am of course disappointed that your submission did not win the competition.

Is believing in oneself, so necessary for withstanding repeated disappointment, a sign of delusion or just a necessary set of steps to climb, to eventually have one's high-flying ride on the zip line above the forrest?

Not a sign of delusion at all. Most importantly, the real accomplishment in writing an article - whether anyone reads it or not - or in designing a sculpture - whether or not it is selected in a completion - is the work itself (assuming it is done in a thoughtful and capable way).

We must always believe in ourselves, believe that we are doing a certain thing in a good way, not to reject the need to always keep our eyes open to the possibility that there might be (or have been) a better way.

It is always the journey that is worthwhile. What about the result? Yes, if the journey is righteous, the result will be good. But that is the inevitable result of a good journey.

"I planned, I learned, I studied, I considered, I reflected, I experimented, I got the proper materials, I got the proper tools and set them up properly, and practiced with their use. And guess what - the damned thing built itself."

This is the way of the Renaissance.

Best regards,

Doug

 

[Asher Kelman]

That's too bad but surely you will have another opportunity. Do you have a studio where you make sculpture and do you have gallery exhibits of it? Would be fascinating to see some of your works.

Peter,

I have a studio where I photograph models and when they leave, I use that inspiration to curve steel. I have a collection of scraps and my favorite is to use 1/8" 5 ft ong stainless steel rods, recovered from a failed attempt by a factory to make a fancy steel fence for some company. When it is complete, I scan it into a computer and then smooth out the contour and start to refine the design.

In addition, I build scale models of the place where the sculpture os to be located using wood, acrylic sheet, cardboard, tape and anything to obtain the shapes required, The actual sculpture might be made of clay, copper or curved card. Whatever it takes.

That is the limit of what I can build at home. The real work requires very heavy induastrial equipment and as it's for public art, certifications and licensing too.

Much of my best completed work is built into my rather modern house. I was fortunate to be able to purchase from a bank, a foreclosed ultra-modern concretorium that was designed with no knowldge of the drainage of water and was to be demolished. I offered the bank to take it over and rebuild the roofs, windows and drainage syatem and salvage their investment and got myself a bargain of the century!

I have used it as my gallery and much of my art is built in and then more is exhibited inside.

I build sculptures in about 7 factories scattered in central and Southern California. Each fabrication house has certain cabilities in heavy machinery to curve, fold, weld, grind or machine steel. Each location also has major contracrts with mega industrial giants to build trains, ladels for molten steel, hufe turbine blades, rock ginders and more. I have a trucker who transports work from one place to another, fitting in to the schedule of the factory and their promises to their big jobs.

It is very hard work and requires an ability to choose and obtain the right quality material, machine to correct tolerances and personally take repsonsibility for all the shaping, cutting, welding, curving that is done according to highly detailed plans and structural calculations done months before.

Safety is a major concern, as stuff weight tons with sharp edges are constantly moving around us on cranes and in fork lifts and scissor lifts. It is a condition of working anywhere that I am personally involved at every step. I dont drop of work to be done, unlress it is machining a new threaded bolt I have designed, where the machinist just has to exactly follow hte drawings and the only thing I can do is design it correctly and then check it with instruments afterwards.

When work is done, it has to be stored. So there are piecesin sorage that are incomplete. A piece that is over 12 ft high and weighs 2,000. lb, is hard to move. So it would be great to get a display gallery.

We are looking in to that when I have an inventory to put together as one collection. First I am building a new website for my work!

Asher

 

[Peter Dexter]

Thank you for that wonderfully complete response to my question. You explained many very interesting points. My next question if it's not a bother is did you do any formal study of sculpture? I wonder if you perhaps studied at the California College of Arts and Crafts that being in your neck of the woods.