Gateway Art Support

A masculine form suggesting the Avenging angel or the soldier of god. I want to imply both the embodiment of good and comfort along with the fearful wrath of heaven. The idea of representing soft angelic flesh and light white feathered wings in cold rusty steel. The realization of both extremes in one unified form suggesting fear and comfort. steel as a medium lends itself to the rigidity of form, which in this application should be tempered with a sense of motion and sound as the sculpture reacts to the wind and interacts with the audience. the chiming of the bells bringing to mind faerie bells.

Motion, higher order of existence, accessible art that can be touched and interacted with.

Structure and appearance: All steel rusty appearance, wings might need to be stainless masculine torso with wings 2x3x8 tall.

Statement of purpose: Demonstrate sculpture of a portrait (head) in clay and a torso.

Project philosophy: You can make almost anything with a little bit of mud, some time and talent.

Life size clay (terra cotta) head of a volunteer who will need to sit still for 3 sitting over the course of the event (about 2 hr sittings each) and a torso about 15 inches high in terra cotta. Note: In order to be preserved, the clay must be dried slowly and fired and finished after the event (if you want it permanent). OR if you choose, we can put the finished pieces in the effigy burn, but there's no guarantee they will survive. At least there will be pictures.

I intend to designate a space in location and time in which to contemplate and appreciate the four elements of nature: Earth, Air, Water and Fire.

The space will be surrounded in the cardinal directions by four burn barrels (metal 55 gallon drums) with teardrop shaped eggs of wood suspended or perched above the barrels.

Each barrel will be cut with images, representation and decoration related to its respective element. Each teardrop shall have hidden within the wooden teardrop or egg a metal sculptural form symbolic of its respective element.

The barrels will be placed on the earth, adjacent to the water of the creek, sharing the air we breathe. At the appropriate time all four shall all be lit on fire. As the fire grows, and the wood burns away, the forms will be revealed.

We intend on performing music in the form Fire Dog. We plan on working with Sumo and Rain and their sound camp to fill the weekend with music. They will provide us with necessary generators to power the camp. We can provide up to 7 or 8 hours of live music throughout the weekend. They will also be providing DJ sets.

Fire Dog spreads positive vibrations through songs of truth and intrigue, creating a sound full of energy and optimism for the 21st century, to make the people dance!!

In the past I have built metal frame shade structures, including the one that Portal used last year. I also built an art vehicle for my son that he used at Artica. Amy has made many architectural models and stained glass panels. We both have extensive experience in building and bringing planned projects to fruition. We are currently working on this sculpture, and will have it in an early stage for Interfuse.

Our purpose is to create a growing, mutating structure that, like nature, increases in complexity as it interacts with the environment (i.e. people), and as time goes by (i.e. iteratively at each burn).

Our sculpture is inspired by the basic building blocks of life - DNA. Just as life grew out of the primordial ooze and evolved, so too does our sculpture mutate, change and evolve. Starting with a rigid code and form, external forces can interact and modify the embodiment of this organism. In short - we aim to communicate the mutability of life in response to its environmen

The sculpture is constructed of metal pipe framework and 3/16" thick metal disks fashioned into nodes all assembled in a helical form. The primary helix will be approximately 9' tall before dividing into tertiary structures - two of which will return back to the ground for stability. Some nodes will have the means to attach found objects, as well as additional nodes by passers-by. We hope these additions will travel with the sculpture as increased complexity to future burns.

What I do is as much about the knowledge gained as it is the finished work. While I have produced several works which have similarities to this, I'm looking at broadening my knowledge base by adding computer control over the flame systems. This control makes the display more dynamic and fluid while it allows control over fuel savings when viewers are not interacting with it. For me this is the beginning of a major breakthrough, the systems involved can be used for many other things. The basic set up utilizes computer controlled relays triggering electric circuits, these circuits can power lights, motors or valves which can in turn be used for propane, water or air. With little change future iterations of this project might include patterned lights in the woods, water fountain jets by the creek or air actuated cylinders to make moving sculpture. The interactive nature means the viewer can interact with the piece or works can interact with their environment.

I've been approached by several other groups intending to make works for gateway that would like to include flame effects. I will do my best to help others with my knowledge and surplus pieces in hopes that we can extend the breadth of work coming to gateway in the coming years.

First of all I'd like this project to be fluid.

I'm working on an array of flame cannons which are microprocessor controlled and programmed with a computer. This array will enable interactivity with participants either through direct input or through motion and proximity sensors. The Input will yield a series of sequenced bursts from the flame cannons. The bursts can be seen as random blasts or orderly sequenced patterns which create sensory interest through the sound, light, shadow and heat they produce.

I have several ideas how my project might be utilized. be it for a burn circle ring, road beacons, creek lighting or interactive flame effects for their own sake. I'd like the opportunity to use this project in the best way for the event and perhaps have the option to change it up throughout the time to play with how this type of effect might be able to interact with the environment and viewers.

Materials

• propane
• valves
• hose
• fittings
• tanks
• wiring
• electronics

Dimensions will be dictated by the space available and or environment in which the project will utilize. Possibilities include:

• 50' diameter for perhaps a burn circle or open field installation
• 150' long 15' wide corridor for a long stretch of road or pathway

I would like to produce some sort of interface to allow participants to approach the piece and control the flames themselves. Be this control through an actual interface at a station with buttons or through some sort of motion or proximity sensor which activates the piece. Either system would allow longer run times and less fuel as it would not need to run constantly.

A significant portion of the artists previous works will be combined to produce this larger array for Gateway:

• Several of the towers, valves, and wiring harness have already been constructed and are re-useable.
• The electronics portion is largely constructed and was done in such a way as to be expandable leaving room for the display to be broadened and it's size and complexity increased.
• The programming has started with the idea that it can scale with the project and be altered onsite leaving room for play with the system based on its intended use and final location.

Four Square is one incarnation of a larger ongoing flame project by Larz Gaydos. The intention is to create a large scale interactive FIELD OF FIRE controlled by YOU the participant(s). The piece consists of a grid of 16 (4x4) propane blasters. Each blaster consists of a central flame effects unit fed by a 20# propane tank and a separate piloting system.

To play the "blaster units" one simply rotates the "L" shaped ball valve handle 1/4 turn forward and "viola", YOU are creating flame effects. Slower or quicker turns of the handle will produce a variety of flame sizes and associated sounds. You are encouraged to gather with your friends and experiment with flame shape, with speed, with rhythm, with pattern and with sound. Enjoy yourself and know that the ultimate goal of this piece is to bring a smile to your face and those of your friends and fellow Burners.

This project has been funded in part by generous grants from GAS Arts Fund and BURN-Burning Man Chicago. Thanks so very much for allowing me to be part of your Burns and for assisting me in bringing this project to others.

At this high-tech nexus of chemistry and creativity, you can magically morph the colors of your T-shirts, sheets, socks, and hands! Whether you are a kid with an adult on hand to help you, or a hippie who takes yourself seriously, you can make your clothing reflect your extreme dedication to this year's Gateway theme of Water on the Moon (and Other Impossibilities). We will use the latest, most expensive technology to tie-dye your light-colored natural fibers (like COTTON, silk, wool, linen, poly-cotton blend) and embellish them until you have an original, one-of-a-kind AquaLunar T-shirt or Toga. We will try to set up the tie-dye stuff around noon on Friday, so after your costume is done, you can show it off Saturday night!

For the inexperienced or faint of heart, Mary Flower Child is running this Colormorph Station, and she can teach you how to tie-dye like an amateur. We will have some T-shirts you can use, but isn't it cooler if you transform something you already like? Actually, it's cooler if it's something you've already stained somehow, because you can magically fix that stain! We will have supplies on hand for this, but if you have old packets of tie-dye (non-toxic ONLY!), BUCKETS, fabric, old sheets, white clothes, bells, sequins, ribbons, beads, junk jewelry, clothes pins, clothesline rack, or anything else that would help create some awesome costumes, any donations will be appreciated.

Our main colors of dye will be Blue, Green, and Purple, and Mary Flower Child can teach you how to use rubber bands to make bubbles, craters, supernovas, and planets. Most light-colored natural fabrics should dye well, but orange or peach-colored things may turn brown or puce. We may also have a spray bottle of Bleach water that adults can use to change the color of darker-colored stuff (the Bleach is pending approval from the People in Charge, so don't count on it). We will also have some Toga Pins on hand so you don't embarrass yourself running around in that sheet. In addition to dyeing your stuff, you are encouraged to transform it into a fun costume by cutting, tying, wrapping, fringing, and pinning, and otherwise embellishing.

Have you ever thought about tie-dying:

• T-shirts (well, DUH!)
• Old sheets, especially stained ones.
• Tablecloths
• Socks (kids love this one, especially if they think their parents won't approve)
• Tights
• Old Slips (they dye in very strange ways, and usually surprise you)
• Hats
• Curtains
• Jeans
• Canvas Shoes
• Pillowcases
• Canvas Bags
• Doll Clothes (You and your doll can have matching togas!)
• Lace

This is the cheap dye, using the Dip-In-A-Bucket Method. After tie-dying, a little of the dye will come out each time you wash the stuff, so don't wash it in hot water with your white laundry! Also, this means that in a few years, the bright colors will fade to pastel.

Statement of purpose: We want to create a landscape of light at night across an area of the ground with lots of movable solar lights in such a way that depending on your perspective from afar, resemble different two dimensional forms.

Also, creating a beautifully lit area to interact with.

The Polynesian dance, A Tahu i Te Auahi, is one that celebrates the flame as the mother that grows inside all of us. The words speak of Mahuie, the goddess of peace, who's flame grows even in the water, and like her peace, her flame never dies

Rebecca Rivas will perform this dance on a wood platform, built with two fans that blow up long strips of red fabric. (This dance does not include fire.

The story will move into the dance of the Phoenix, performed by Holly Rose on the same stage. With video projecting onto her white costume, she will tell the story in her movements of the mythical bird that burns up in flames, only to return from the ashes reborn as a fountain of youth.

Holly's movements will then embody water and the video will project the moon in its changing forms and images of water. Simultaneously in front of the stage, (far away from the red fabric), Rebecca will perform fire poi to Polynesian drum music, showing Mahuie's flame embracing water and burning eternally.

I've always loved the ocean and felt a strong connection to water. Once I began learning the art of Polynesian dance, the connection between fire and water began so vivid. It's so beautifully told in Polynesian stories and dances. Equally, the moon has always been an inspiration for great stories and dancing. Our project brings together the ancient myths of the flame and the moon, while using the inspiration of multimedia to enhance the story and performance. Our goal is to celebrate our ancestors' beautiful stories and share them with our beautiful friends.

Structure and appearance: The platform will be about 8 feet by 8 feet. We will need electricity for the video projection and the fans. We will also electricity for our stereo, for the music.

Every bustling community needs to have common terms for its highways and byways. Gateway needs to have some basic infrastructure to illuminate the path ahead and help the people find their way. Rather than the common austere semi industrial lamp light I want to have a bit of the expression of the creative spirit of the community. Light, color, form working hand in hand with an actual name for each street or intersection.

Project philosophy: To give our community structure and a sense of location and reference points.

Located at intersections and recorded on the official map and to be lit up at night.