To the People of Orlando

Materials: epoxy primer, auto base coat & single stage, clear coat on
Omega Lite aluminum panel
Size: fourteen 20’x5’ panels
Completion date: February, 2008
Location: Orlando, Florida

An outdoor site specific installation located downtown Orlando, Florida. Entitled To the People of Orlando, the piece was commissioned by Argentina based property developer, Real Estate Inverlad N. A. to be installed on their new fourteen story condominium building 101 Eola.
The piece consists of fourteen 20’ tall by 5’ wide aluminum panels mounted on aluminum framing at three sides of the architectural structure. The collection of panels at each side, create a movement. The piece is composed of three movements, which together span a full city block.

To the People of Orlando is an extension of a body of work I term geometric expressionism, in which geometric form is employed as a representation of entities. I describe the forms as entities as they conceptually and figuratively include, but are not limited to, those forms relevant to the human being. Each is unique in expression, shape, color and move from panel to panel, movement to movement. The attempted result is a natural, primitive and instinctive expression. However, not only are the instinctive and reactive components a part of our life, but also are intelligent and learned thought. As is common with my work, this representation is attempted by enlisting mathematics, engineering & physical science. In this piece, dimension lines, electrical and mechanical schematics as well as scientific derivations relating to energy and force are enlisted as such representation.

In great regard, the foundation of the work is related to the body of work entitled To the People of New York City, by the German born artist Blinky Palermo. Although Palermo died in 1977 when I was only seven years of age, and I never studied Palermo’s work until a couple years prior to conceiving the Orlando piece. I discovered a strong relationship with the work of the late artist, almost as if the he had an inadvertent influence on me. Palermo, who studied under Joseph Beuys, was a colleague of Sigmar Polke and Gerhard Richter became a pioneer of aluminum paintings which expound upon the appreciation of color meets line. To the People of New York City is a series of painted aluminum works that greatly celebrate this relationship. This appreciation of color meets line is also a major component of the Orlando piece. However, only in the foundation of the work is this apparent. This work was created at a different time and a different place by a different artist. I felt it was important to take the conceptual aspects of Palermo out of the gallery and to the streets.

Beyond the clean orderly component of the piece where each union of differing color and shape are clearly defined with a formal line, attention is called to particular entities by highlighting with hand brushed borders. Further employment of scientific notation represents an analytical and critical approach. The superimposition of the varying styles is intended to create a balanced perspective by the viewer. As in life one should appreciate and employ both the heart and head. To ignore the primitive intent and reactions we experience would be to ignore thousands of years of evolution, the very behavior that is in great part, responsible for our current existence. However, cumulative analytical learned behavior is an equal component of the process. To be intelligent and think critically is essential for the modern human, regardless of your endeavor.

To the People of Orlando is composed of three movements. Each are located on separate sides of the architectural structure and front three different streets. At no single location is it possible to view the three movements in full. Thus, the piece encourages the viewer to move along the block and follow the composition. The three movements are representative of the past, present and future respectively and have individual titles which are written on the faces. However, I scribble and scratch over the writing such that they are not easily read by the casual passer by. Rather, only upon close observation it is possible to make out the wording.

The first movement located on the north side of the structure is entitled, Seems we’re Hanging On – To a Bigger Picture. It is indicative of our past experiences and conditions which influenced our current state of awareness and being.

The second movement located at the west side of the building and the formal entrance, is entitled, Still Fighting – For our Spirit and Mind. It is also the largest of the movements consisting of six panels and is representative of the present and our current plight.

Finally, the third movement, which is located at the south side of the structure is entitled, Set it in Motion – It’s the Next Movement. It is representative of the future and where we are taking ourselves.

As a whole, the three movements attempt to evoke an emotional, logical and spiritual stimulation resulting in self reflection and understanding.