"Confluence", five carved and glazed brick columns set in a green space next to a bus terminal in Philadelphia PA. They synthesize various aspects of the area. One of five shortlisted proposals for South Eastern Pennsylvania Transit....
Cheltenham Ogontz Bus Loop Michael Morgan www.michaelmorgan.net
I propose creating a series of sculptures that synthesize a number of the following, seemingly disparate elements. The Cheltenham Ogontz Bus Loop is at a confluence of three major routes from three very different areas, East Mt. Airy, Cedarbrook and West Oak Lane, becoming a powerful integration of themes. The annual West Oak Lane Jazz Festival is one of the most defining events of this area, emphasizing a real sense of community. (I traveled in on the # 6 bus from Broad and Erie and everyone on the bus was heading for the concert.) This is an urban setting, the most iconic material of the urban environment is Brick. Because of the associations we all bring to brick, it can be a good vehicle for metaphor. I know from much experience that waiting for buses can be frustrating, so these sculptures should posses a calming energy, something that should be both surprising and familiar at the same time. These carved brick forms reflect the architecture of the distant Arcadia University, the brick row houses East Mt. Airy, and the activity level of the surrounding malls, pedestrian and vehicular traffic.
They will appear to grow out of the ground, and so they create a concrete connection to the earth from which they are made. This earth connection is further enhanced by the use of brown coloured mortar. When the users experience the urban building material expressing natural form, it will give them a whole new approach to their environment. Each tree-like structure starts at the base as three strands that follow the line of organic growth, spiraling together. Symbolically they will bring together the three routes and communities. Like jazz takes a standard theme and improvises on it, the five stylized trees each start as spiral structures in the muted brick colours of red to brown to black, with some small variation. As they progress in size, (above seven feet) they exhibit a freer, wilder exuberance that varies from sculpture to sculpture. At this point the colours become brighter and more varied, exhibiting at times an iridescence, at others, the inclusion of coloured glass. The bricks for these sections will be hit with hands, feet and branches, forming instant fossils of movement. I also want to run a workshop where residents can participate in this process. These bricks then are imbued with a real human aspect, emphasizing the clay nature of this material.
As with each of my art proposals, I will carve the work myself. The artwork, while relevant to the site and its users, is also deeply personal. It involves a labour intensive process during which I carve and touch each brick multiple times. Through past experience I have discovered that people enjoy seeing the artist install their own work, they ask questions, and a real connection is build up over the weeks. Children respond well to my work also, I have made functional sculpture for “Outdoor Classrooms”, and this work has been used by schools for their visual/spatial learning programs.
The sculptures will be irregularly placed within the first hundred feet of the designated area like a grove of earthen trees spontaneously sprouting up. While they will be accessible to the public from Ogontz Avenue, this is not a gathering place, so although I want people to investigate them, they should not be encouraged to stay for a long time. It has to be remembered that this area has to function to help water with run off, so my sculptures will not be erected in the lowest point of the swale.
I have completed a number of medium to large scale sculptures in various locations where diverse types of harsh conditions exist, from Florida's east coast, to the upper Midwest, and my work has required no maintenance to date.
Method
Fabrication The bricks will be delivered to my studio for carving and altering. I will fabricate the sculptures with the help of one assistant. The lower sections of the columns will be carved. The bricks for the upper, wilder sections will be wetted down, scored and porcelain slip (liquid Clay) and oxides applied. These will then be hit with hands, feet and branches. The carved bricks will be fired in a gas kiln. Some of the altered bricks will have green glass added to the indentations caused by the hitting motion. I also plan on holding a workshop for area residents, where they will alter the bricks in a similar way. These bricks will then be fired in a salt glazed kiln. Each element will measure approximately 10’-11’x30”x30” Fabrication will take !0 weeks.
Installation The sculpture will be delivered to the site as individual bricks. Site construction will be completed largely by me and one assistant. Footings will be dug for each free standing element to a depth of 3 feet, and to extend at least 2 inches in each direction from each element.
4 rebar twelve inches each way, three inches from base, and three inches from the top of the footing.
4 rebar will also extend into the footings to a depth of 18 inches. They will extend nine feet into the columns with at least a two foot lap length.
Footings will be filled with concrete. As each element is laid up, it will be filled with grout. The carved bricks will be red to brown to black. The altered bricks will be multi-coloured, have some iridescence, some will include green glass. (see visual information) The sculptures will be laid up with brown mortar. Installation should take 6 weeks. The site will be cleaned up on completion and debris removed.
Budget
Artwork Cost
Materials $4000 Firing $8000 Carving $46,800
Installation
Materials
Transport & Travel $5000
Labour $25,300
Tools & Equipment $3500
Lighting $3000
Miscellaneous costs
Plaque $500 Insurance $3,000 Documentation $1,000
Third party $8400
Artists Fee $21,750 Contingency $14,500 Total $143,950
"Confluence", five carved and glazed brick columns set in a green space next to a bus terminal in Philadelphia PA. They synthesize various aspects of the area. One of five shortlisted proposals for South Eastern Pennsylvania Transit....
Cheltenham Ogontz Bus Loop Michael Morgan www.michaelmorgan.net
I propose creating a series of sculptures that synthesize a number of the following, seemingly disparate elements. The Cheltenham Ogontz Bus Loop is at a confluence of three major routes from three very different areas, East Mt. Airy, Cedarbrook and West Oak Lane, becoming a powerful integration of themes. The annual West Oak Lane Jazz Festival is one of the most defining events of this area, emphasizing a real sense of community. (I traveled in on the # 6 bus from Broad and Erie and everyone on the bus was heading for the concert.) This is an urban setting, the most iconic material of the urban environment is Brick. Because of the associations we all bring to brick, it can be a good vehicle for metaphor. I know from much experience that waiting for buses can be frustrating, so these sculptures should posses a calming energy, something that should be both surprising and familiar at the same time. These carved brick forms reflect the architecture of the distant Arcadia University, the brick row houses East Mt. Airy, and the activity level of the surrounding malls, pedestrian and vehicular traffic.
They will appear to grow out of the ground, and so they create a concrete connection to the earth from which they are made. This earth connection is further enhanced by the use of brown coloured mortar. When the users experience the urban building material expressing natural form, it will give them a whole new approach to their environment. Each tree-like structure starts at the base as three strands that follow the line of organic growth, spiraling together. Symbolically they will bring together the three routes and communities. Like jazz takes a standard theme and improvises on it, the five stylized trees each start as spiral structures in the muted brick colours of red to brown to black, with some small variation. As they progress in size, (above seven feet) they exhibit a freer, wilder exuberance that varies from sculpture to sculpture. At this point the colours become brighter and more varied, exhibiting at times an iridescence, at others, the inclusion of coloured glass. The bricks for these sections will be hit with hands, feet and branches, forming instant fossils of movement. I also want to run a workshop where residents can participate in this process. These bricks then are imbued with a real human aspect, emphasizing the clay nature of this material.
As with each of my art proposals, I will carve the work myself. The artwork, while relevant to the site and its users, is also deeply personal. It involves a labour intensive process during which I carve and touch each brick multiple times. Through past experience I have discovered that people enjoy seeing the artist install their own work, they ask questions, and a real connection is build up over the weeks. Children respond well to my work also, I have made functional sculpture for “Outdoor Classrooms”, and this work has been used by schools for their visual/spatial learning programs.
The sculptures will be irregularly placed within the first hundred feet of the designated area like a grove of earthen trees spontaneously sprouting up. While they will be accessible to the public from Ogontz Avenue, this is not a gathering place, so although I want people to investigate them, they should not be encouraged to stay for a long time. It has to be remembered that this area has to function to help water with run off, so my sculptures will not be erected in the lowest point of the swale.
I have completed a number of medium to large scale sculptures in various locations where diverse types of harsh conditions exist, from Florida's east coast, to the upper Midwest, and my work has required no maintenance to date.
Method
Fabrication The bricks will be delivered to my studio for carving and altering. I will fabricate the sculptures with the help of one assistant. The lower sections of the columns will be carved. The bricks for the upper, wilder sections will be wetted down, scored and porcelain slip (liquid Clay) and oxides applied. These will then be hit with hands, feet and branches. The carved bricks will be fired in a gas kiln. Some of the altered bricks will have green glass added to the indentations caused by the hitting motion. I also plan on holding a workshop for area residents, where they will alter the bricks in a similar way. These bricks will then be fired in a salt glazed kiln. Each element will measure approximately 10’-11’x30”x30” Fabrication will take !0 weeks.
Installation The sculpture will be delivered to the site as individual bricks. Site construction will be completed largely by me and one assistant. Footings will be dug for each free standing element to a depth of 3 feet, and to extend at least 2 inches in each direction from each element.
4 rebar twelve inches each way, three inches from base, and three inches from the top of the footing.
4 rebar will also extend into the footings to a depth of 18 inches. They will extend nine feet into the columns with at least a two foot lap length.
Footings will be filled with concrete. As each element is laid up, it will be filled with grout. The carved bricks will be red to brown to black. The altered bricks will be multi-coloured, have some iridescence, some will include green glass. (see visual information) The sculptures will be laid up with brown mortar. Installation should take 6 weeks. The site will be cleaned up on completion and debris removed.
Budget
Artwork Cost
Materials $4000 Firing $8000 Carving $46,800
Installation
Materials
Transport & Travel $5000
Labour $25,300
Tools & Equipment $3500
Lighting $3000
Miscellaneous costs
Plaque $500 Insurance $3,000 Documentation $1,000
Third party $8400
Artists Fee $21,750 Contingency $14,500 Total $143,950