Are we not femme? Temporoery workspece BRUSH WITH ILLUMINATION: A Solar Panel “Mooning” (Continued from page 18) The first appearance of Simpson’s work was that of a grandiose, bright object projecting out of the waters of False Creek. Having absolutely nothing in common with the subtle appearance of Tsang’s work, Simpson’s work begged for attention. I stood somewhat dumbfounded. In front of me was an amazing, brazen object. Its clean tight lines were put forth in an assemblage that would not be out of place on a science fiction movie set. This 26' long tidal-activated, fixed/floating sculpture for the life of me seemed to be a huge presentation of male geni- talia. Transfixed, I stared, forgetting the cold. I asked myself over and over, "How did anyone manage to sell this to the Pacific Place Panel?" I wasn’t offended, I was amazed. The longer I gazed, the bigger it looked. I was warming up to the idea of Simpson having placed a floating penis in front of what was to me an assemblage of cold, faceless condos. The erection of a coo that injects life. Simpson has been referred to as an "agitator" in the past. An artist that has displayed "a social crusader’s conscien- tious and the monkey wrenching spirit of an environmental activist." His first formal commission was at the Woodstock Music and Art Festival in 1969. He created a work that was re- appropriated by the pubic for firewood. Since, he has been recognized as helping to shape pub- lic art. His work is known as addressing local, historical, and civic issues, while at the same time drawing attention to environmental and social concerns. He claims that artists need to "...retain their provocateur’s edge while catering to a bigger rainbow. We have to be tricksters." Simpson himself confesses to having a great deal of enthusiasm when it comes to challenging the process of public art commissions. It is in my humble opinion that when Simpson was planning his strategy for presenting Brush with Illumination to a jury, his inner trickster was working overtime. Void of any vanity, Brush with Illumination reflects the up to date architectural building materials of the Round House neighborhood. An overt copy of the technically advanced struc- turing of the community, which boasts of possessing "award win- ning" housing designs all wired with the most up to date commu- nications technology. In mimicking these residential advances, Simpson may have purposely gone overboard. To my delight the work displays two huge steel flotation balls. These are compli- mented with long sleek, bright blue solar panels that are outfitted | was warming up fo the idea of Simpson personal schemata’s. This is always the case when viewing art. Reviewing Simpson’s and Tsang’s work has given me a degree of insight into the complexities of a public art installation. Perhaps the process of the artists’ interaction with both the environment and a jury imposed the most impression on me. First, I realized how difficult it must be for the artist to find an environmental bal- ance for an installation. It is my perception that at any given gallery opening the work of a curator is often overlooked. I believe the viewer may also have the tenancy to dismiss the environmen- tal considerations that accompany the installation of a public work. having placed a floating penis in front of meen amen ee what was fo me an assemblage of cold, faceless condos. with fibre optics to glow at night. The handle of the "brush" shines a red "X" that is meant to resemble a computer cursor. Simpson has proposed a website that will download water and current temperature data gathered by this work. The brush is meant to resemble a Japanese calligraphy brush. Wow, how cos- mopolitan, yet so traditional. Looking back I had no idea a cal- ligraphy brush was to be part of the visual experience. Today, my perception of this is a connection with the newest influx of wealth from the far east, or perhaps more to the point, a comment on corporate global influence. I am still trying to piece together all the layers of mean- ing/humor. It is a sly, playful jab at the growing presence of wealth within a small portion of society, a sarcastic tone that will be missed by most. A Brush with Enlightenment. Tsang and Simpson both have in their own way exam- ined and brought to light the awkward transitions of social trans- formations. I recognize that my analytical concerns are jaded by process of proposing a project to a public art jury. This is to me a cre- ative act in of itself. I am amazed that an artist can maintain a cre- ative expression. The project is evaluated on so many different lev- els that it can be lost at any given stage. Both Henry Tsang and Buster Simpson have proved to me that they are professionals that have taken on the challenge of public art with incredible polish and intelligence. Henry Tsang’s Welcome to the Land of Light has man- aged to conform to the public space backdrop with an eloquent sense of dignity, while still conveying a thoughtful message. I say this disregarding the placards entirely. Buster Simpson and his work Brush with Illumination has shown me that the brush can be mightier than the sword. In his work I have discovered a rebellious taste that I enjoy. It is my conclusion that he has exemplified how to attain victory from within the system. The end result is that of a solar panel "mooning" locat- ed approximately 60' out, in the waters of False Creek. March 1999 Influx * Magazine temporery BRUSH WITH ILLUMINATION: A Solar Panel “Mooning” (Continued from page 18) “The first appearance of Simpson's work was that of a grandiose bright object projecting out of the waters of False Greek. Having absolutely nothing in common with the subde appearance of Tang's work, Simpson's work begged for attention, stood somewhat dumbfounded. In front of me was an amazing, brazen object. Ie clean ight lines were put forth in an assemblage that would not be out of place on a scence fietion ‘movie set. This 26 long tdal-actiated, Sxed/Noating seulpre forthe life of me seemed to be a huge presentation of male geni- tala, Transined stare, forgeting the cold. asked myself over and over, “How did anyone manage to sl this tothe Pacific Place Panel I wast offended, Iwas amazed. The longer gazed the bigger it looked, Twas warming up to the idea of Simpson having placed a floating penis in front of what was to me an assemblage ‘of cold, faceless condos. The erection of «coo that injects lie ‘Simpson has been refered to as an "agitator in the past. An artist that has displayed “a social crusaders conscien- tious and the monkey wrenching spirit of an environmental Activ" His frst formal commission was at the Woodstock ‘Music and Art Festival in 1969. He created work that was te- appropriated by the pubic fr firewood. ‘Since, he hasbeen recognized as helping to shape pub licart. His work is known a addressing local, historical and civic issues; while atthe same ime drawing attention to environmental td social concerns. He claims that artists need to" retain their provocateur’ edge while catering toa bigger rainbow. We have 19 be trickster.” ‘Simpson himseifconfestes to having a great deal of cnthusiasm when it comes to challenging the process of public art commissions. Its in my humble opinion that when Simpson was Planning his strategy for presenting Bruch coh Hainan to a Jur his inner trickster was working overtime. oid of any vanity, Brush eth Muoination reflects the up to date architectural building materials of the Round House neighborhood. An overt copy ofthe technically advanced struc- turing ofthe community, which boasts of possessing "ward win- ring” housing designs all wired withthe most uptodate commi- ications technology. In mimicking these residential advances, Simpson may have purposely gone overboard. To my delight the work displays two huge steel tain balls. These re compli- ‘ented wit long sleek, bright blue solar panels tha are outited personal schemata's. This is alays the case when viewing art. Reviewing Simpson's and Tsang’s work has given me a degree of Insight into dhe complentes of a public art installation. Perhaps the process ofthe artists interaction with both the environment and a jury imposed the most impression on me. First, realized how dificult mur be forthe artist find an environmental bal- ance for an installation. tis my perception that at any given tallery opening the work of a curstor is often overlooked. I ‘elev the viewer may also ave the | was warming up to the idea of Simpson s=0= 1 dims th csionmen fal considerations that accompany the instalation of a public work having placed a floating penis in front of mtn process of proposing a project 10 3 what was to me an assemblage of cold, mica iss: stomesce. faceless condos. with Sre optics to glow at night. ‘The handle of the “brush* shines a red "X" that is meant to resemble a computer curso, Simpson has proposed a website that will download water and current temperatre data gathered by this work. The brosh it meant to resemble a Japanese calligraphy brush, Wow, how cos ‘mopolitan, yt so traditional. Looking back I had no idea a cal- Tigrphy Brush was to be part of the visual experience. Today, my perception ofthis is a connection with the newest inlux of wealth from the far eat, oF pethaps more to the point «comment on corporate global inluence. Tam sil tying to piece together al the ayers of mean ingtnumor. Iisa sly, playful aba the growing presence of wealth within small portion of society, «sarcastic tone that wil be rmissed by most. A Brush with Enlightenment “Tsang and Simpson both have in their wn way exam ined and brought to light the avlovard transition of social tant formations. T recognize that my analytical concerns are jaded by workspace five actin off, Tam amazed that an artist can maintain a ere= ative expresion, ‘The project evaluated on so many diferent ley- cls tha it canbe lost at any given stage. Both Heney Tsang and ‘Buster Simpson have proved to me that they are professionals that have taken on the challenge of public art with incredible polish and intelligence. Henry Teang’s Wiome the Land of Light has man- aged to conform to the public space backdrop with an eloquent Sense of dignity, while sll conveying a thoughtul message. Tsay this disregarding the placards entirely. Buster Simpton and his work Brack with Mlumination has shown me thatthe brush canbe mightier than the sword. In his work I have discovered a rebelious taste that I enjoy. Teis my conclusion that he has exemplied how to atin victory from svt the yee, ‘The end result is that ofa solar pane! “mooning” loca approximately 60 out, in the waters of False Grek 24 Influx Magazine March 1999