RFQ-PUBLIC ART 2016 Public Art - Request for Proposals
Color
1
Virginia Ellyn Melnyk
Letter of Interest:
Dear Deborah Greel, Public Art Planner, City of Salem,
I am an artist and Architectural designer interested in the Salem Summer Public art Program. I currently am a
faculty member at the University at Buffalo school of Architecture and Urban Planning. I teach entry level design and
Computer aided design media courses. My work reflects my background as an architect, but is at a smaller more a-t like
scale. I utilize architectural computer programs to design my work, along with the traditions of hand building and crafting
art peices using traditional methods.
I have provided temporary installations`or many art events from Beijing,Toronto, Flint, Detroit and Boston. Salem
interests me because of its rich and historical past. Its a great location to build a sculpture that can really make people
think. I hope to integrate lighting into the design and structure thus having a piece that would be interactive during tie day
and night in the town square.
Please review my work samples and do not hesitate to contact me for any further questions.
Thank you in advanced for your consideration,
4V!rginie1nyk
,
Virqinia E11vn Mels
EDUCATION
University of Pennsylvania London Architectural Association University at Buffalo
School of Design Fall Semester 2009 School of Architecture and Urban Planning
2007-2010 UPenn Study Abroad Program 2003-2007
MArch B.S.in Architecture
TEACHING EXPERIENCE
Visiting Faculty I University At Buffalo, Buffalo NY I Fall 2014 and Spring 2015
Lecturer I Visual Studies I University of Pennsylvania, Philadelphia, PA I Fall 2010
Associate Project Designer/Team Leader I Studio Pei-Zhu, Beijing, China I November 2011-2014
PUBLICATIONS, EXHIBITIONS and AWARDS
Work published in:
Places of Spirt Coffee Table Magazine, November 2013
Sona Ya Feng That's Art Magazine, issue No.8 2013
FLAIR:Arab-International Luxury Living Magazine, Summer 2011
Meander Variegating Architecture, Exton, PA. 2010, Bentley Press
Work 200912010. University of Pennsylvania School of Design, Dept of Architecture, 2011
"Facing up to Rising Sea Levels Retreat?Defend?Attack?", RIBA Building Futures Publication, 2009
Bloom: urban botanical gardens in NYC , Ferda Kolatan,Arch 602 student work, 2009
Work exhibited in:
Come Up to My Room Toronto, January
August Window Installation At CAW Gallery,August
Boston Play Day,At Boston Lawn on D, July 2015
TODO Toronto January 2015
Flint Free City, Public Art event,August 2014
C!HereArt Crawl, Beijing,April 2014
"1 x20" at the Harrison Center for the Arts, Sept. 7 2012-Oct. 12012
"The Unfinished Grid"at the Museum of the city of New York Dec. 6 2011 to July 15 2012
"Facing up to Rising Sea Levels""Retreat?Defend?Attack?", RIBA Building Futures exhibition 2C09
Waste exhibition University of Pennsylvania School of Design, May 15-30 2009
Identity exhibition University of Pennsylvania School of Design, May 12-27 2008
Awards:
Runner Up Honorable mention, GE Garages Making things,Architzercom Competition, 2012
Honorable mention Exhibited Design, Future Grid New York architecture league competition, 2011
Second Place build Sukkah, Kehilla's Sukkahvile Toronto, 2011
Short List design to be built, Kehilla's Sukkahville Toronto, 2011
Top 20 LIC Suckerpunch.com Competition,2011
Third place, Schenk-Woodman Student Competition University of Pennsylvania, 2008
Honorable mention, in "Food for Thought" International Ideas Competition, 2009
www.virginiameinyk.com
Virginia Ellyn Meir
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PROFESSIONAL PERSONAL TEACHING
GEOMETRIC CURTAIN
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August 2015 1 August installation at Creative Workshop Gallery, New Haven Connecticut M
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Geometric curtain is a window installation at the CAW gallery in New Haven, Connecticut. D
Utilizing parametric modeling to design a screening device that interacts with light during the day and night.
During the day, light filters through the colorful geometry as it shifts and transitions across the window.A
homage to CMYK the blues, pinks, and yellows layer together to create a whole rainbow of colors as one see
through the depths of the curtain.
Using techniques similar to quilting 604 pieces were stitched together at the edges to create the three
dimensional design.
At night electromagnetic wires illuminate the curtain with patterns programmed with an arduino chip. These
programmed lighting themes begin to create a very unique design that address light in a different way then the
experience during the day.
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CRYSTAL CHANDELIER m
January 2016 1 COME UP TO MY ROOM at the GLADSTONE HOTEL y
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The Crystal chandelier is a contemporary digital take on the idea of crystallized hanging ceiling lighting. D
The design was developed using Grasshopper for rhiro to agg*egate clusters etetrahedrons in to a natural r-
crystalline growth like pattern. The design is made up of 5 individual crystal structures, each constructed from
acrylic tubes and fabric.The tubes create the structural framework and shape while the fabric gently spans the
shape to create the overall form.
LED strip lights are programed to react to the visitors below. With color changing lights to enhance various
refections from the i-idescent fabriz, and motion censored lights to react to the movements of people below.
The Crystal Chandelier enhances the lobby space becoming more active and entertaining while taking a new
approach to the form of hung ceiling lighting.
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SAIL BOXES
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July 2096 1 Boston Play Day 'Published on Arch20.corn y
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—he Sail Boxes were constructed as a temporary Flay structure for the Boston PlayDay 2015 at the Lawn on D. D
Bright and colorful spandex fabric stretches over a box-like bamboo framework to create a unique play
experience which offers a diverse •ange of irteractions. The asymmetrical layout of the fabric creates a maze-
like obstacle course where children are encouraged to push and pull on the fabric as they navigate through the
structure. Meanwhile, small nooks create shadec spaces for people to relax and take longer rests. The shape
unconvertional and structure encourages discovery and creativity. Because there are no allocated functions to
the Sail Boxes, it is up to the users to decide whether they crease competitive games to see who can navigate
from one s de to the other first, or whether they host an imaginary tea party in one of the hidden nooks of
fabric.
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Re-Frame Reflect
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May 2015 1 Porous Boarders Festival
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As part of the Porous Boarders Festival Re-Frame Relect was built as a dividing wall along one portion of the D
boundary between the town of Hamtramck and Detroit. This physical obstruction creates a separation along 7
the border.Although this wall is not solid boundary, it is formed out of angles to direct views and allow new
perception of the other s de of the boarder. Focusing one's sigh:, visitors experience the two sides as a series
of vignettes. By using a reflective material to line the cones, viewers layer their own reflections and the frameo
views through the well in one experience. Encouraging viewers to reflect on their ideas and impressions of
border and the meaniig of the city edge.
Installed May 16 and May 17 at the lot next to 12133 Conant(Meghna Grocery, Hamtramck version)
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GRADIENT GRID
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January 2015 1 Toronto Off-site Design Festival *Published on Suckerpunchdaily.com X
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A temporary installation as part of the Toronto Off-site Design Festival, Gradient Grid acts as a screeiing D
device for the Someone.ca print shop. Formed by a series of truncated pyramids nested together, the yellow r-
and blue funnels begin to obscure and define views. From the shop interior light is basked in the bright
colors as it reflects through the oculi of the screen. The two colors, shift domina-ice across the screen as the
apertures open and close offering more or less presence. The installation is Assembled from a 336 hand dcut
corrugated plastic pieces and rested with in a wooden frame work.
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Summer Igloo m
April 2014 1 C!Here Art Crawl in Beijing A
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Summer Igloo was an cradle to cradle pavilion built at the 2014 Mere Art Crawl in Beijing. The idea is to Z
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build a small intimate space with in a large public area. Using a normal every day object in this case the inflat- r-
able pool toys, to create a geodesic dome. The pavilion becomes a small happy playful space with in the large
housing developments of Beijing. Inviting people to cone inside and see a new perspective of the surround-
ings.After the event all the Inflatable pool toys were donated to a charity for local children to enjoy.
PLAN UN-ROLLED DRAWING
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Sukkah Shift m
October 10-21 2011 1 Sukkahville Toronto, *2nd Place Constructed Winner X
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The sukkah is typically a temporary construction where design isi't necessarily considered. The Proposal is to Z
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build a sukkah that reflects nature through organic patterns deve oped using grasshopper. The form uses circle r-
packing and various tibe lengths. T-ie tubes themselves are all recycled packaging and after the festival of
sukkot can be recycled.
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A B C D E F G H I
1 RFQ for Public Art Submission 2016
10 Images Material/
Stateme iof Medium/ Description
Resum ntof Previous Previous (Material/Medi of Project
2 Name Contact Info a/Blo Interest Title Location Work Work lum Proposal Proposal
Derby No/only
J Undul Sq./Artists of
3 Andrew Bablo Andy@steezdesign.com Yes Yes ation Row concept No Blue Nylon Yes ''''..�pp���{.�„,�n,,,,
terrybastian@waterflowers Blue Wave Yes/Minima ALNL �"W�
J4 ecologicaldesign.com Yes Yes No 9Images No Material I
Jonathan
5 Sceisa/Lead ionathan@op-al.com Yes Yes No Derby Sq. Yes Yes No No
Yes/Painti Yes/Painti
J6 Andrew-earr and rewcarr@smail.com Yes Yes No Derby Sq. ngs ngs Yes Yes
Yes/Cut
7 Eeal+46rimafdi larimald@Rmail.com Yes Yes No Derby Sq. Yes Paper No No
8 Q4a-6vse ole¢use4@Rmail.com Yes No No ? 5 Films Films Video No
g Pete*-Mebem pcmclean70@Yahoo.com No Confusing Derby Sq. Yes Yes Yes
er y
Aft,n, �( Square/Arti
Virginia Melnyk — vemelnvk@amail.com Yes Yes No sts' Row Yes Yes Sculpture/Light No
Derby
Jkanostainedelass@vahoo.c Square/Arti Stained Glass
11 Np_WAkevrski'— om Yes Yes No sts' Row Yes Yes with planters Yes
Maus Pinte,
info(@lightbandstudio.com No Yes INo I Yes Yes/No No No
Miriam Robinson Mrobinson927@email.com Yes Yes No Yes Yes No No
Ueruy
J Square/Arti Steel sculpture,
14 euTliSdcTuss Sad�ki ti.sadowski22@smail.com Yes Yes No sts' Row Yes Yes acrylic/lights Yes
15 Jesa Simon JesaJesa@amail.com Yes Yes No Yes Yes Mixed Media No
lec Thibodeau lalecthibodeauCcDgmail.com lYes Yes JYes Yes No No
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A B C D E F G H I I I 1
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17 derek li htbandstudioxom No No No Website is No No
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CALL TO ARTISTS AND DESIGNERS-Request for Qualifications (RFQ)
Public Art Installation in Salem, Massachusetts,Summer 2016
$7,000 budget
Submission Deadline: February 12, 2016
The City of Salem seeks qualifications from artists and designers interested in
creating a site-responsive public art installation in the heart of downtown Salem
during the summer/fall of 2016.The public art project will be a prominent feature
in the kick-off of the Salem Main Streets,Salem Arts Festival,an annual three-day
celebration of all the arts that will begin June 4,2016. Artists and designers working
in any media,including light,are encouraged to submit qualifications.The City is
particularly interested in installations that have an impact when viewed across the
site and that are effective at night as well as during the day.
Salem is a growing,culturally diverse city with a rich literary,architectural,
maritime,and immigrant history,including its role in the 17th century Salem Witch
Trials. In the 19e century,it was one of the most important seaports in the country.
Today it is lively destination that draws people from around the world.
The site for the public art project is the area surrounding Old Town Hall from Essex
Street on the north side to New Derby Street on the south side. It includes a section
of the Essex Street pedestrian mall,all of Derby Square,and Artists' Row.Except for
Front Street at the lower end,the site is a pedestrian-only zone. Retail shops,
restaurants,businesses,and residences are located throughout the area. The
architecture includes historic colonial buildings as well as newer structures. In
addition,various landscape and hardscape features could be integrated with the
public art project,such as bollards,steps,lamp posts,brickwork,and trees.Notable
topography from the bottom of the plaza at Front Street to the top of the hill at
Essex Street creates a dramatic space around Old Town Hall.
The City of Salem public art project is an opportunity to create a unique experience
for the thousands of visitors and residents who enjoy downtown Salem in the
summer and fall. In addition to the Salem Arts Festival,several other events, as well
as a weekly farmers' market on Derby Square Plaza, mark the season and draw
crowds to the City.
From this RFQ,three to five finalists will be invited to submit concept proposals.
Each finalist or finalist team will be paid a$150 stipend for proposals. One proposal
will be selected for installation. The selection committee is pa1'itularly interested
in artists or designers who show promise of creating a project that:
- unifies the series of public spaces within the overall site
- is durable and easily maintainable for four months in exterior conditions
- responds to the physical,historical,and/or social attributes of the site
- reflects high level of quality in design and fabrication
offers the potential for community interaction
The budget for the Salem Arts Festival public art project is$7,000.00,which must
cover all costs.
6
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Timeline:
February 12, 2016 All electronic submissions due
March 4, 2016 Finalists selected
Late March 2016 Finalists present concept proposals in person
April 1, 2016 Final selection announced
April-May 2016 Final development of project
End of May 2015 Installation
Please submit the following:
Resume/Bio with contact information and website (if applicable)
Statement of Interest(50 words or less)
Example of work:
• Title
• Location
• Ten jpeg images of completed work
• Material/Medium
• Dimensions
• Brief Description of the project
How to Submit:
Submissions should be emailed to Deborah Greel,Public Art Planner, City of Salem,
dgreel(@salem.com. If you do not receive a confirmation email within 24 hours,
please re-send or call Deborah at 978-619-5681.
For more information,please contact Deborah Greel: dgreelosalem.com
Visit www.salemartsfestival.com for more information about the Salem Arts
Festival.
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Salem Public Art Commission
Work Plan -2015/2016
Vision
Public Art in Salem should contribute to the community's identity as the cultural hub of the North Shore and a center for
creativity; foster community pride, ownership and a sense of belonging, and contribute to the quality of Salem's built
environment.
Mission
The mission of the City of Salem Public Art Initiative is to foster the commissioning and acquisition of permanent and
temporary public art, act as a steward of the City's public art collection, and engage the public in the collection.
Public art projects will be accomplished through the direct commissioning of artwork, community partnerships and by
encouraging public art in private development.
Initiatives
Initiative One - ArtBox 2016
Salem's first ArtBox, located on Essex Street in front of its sponsor's popular cafe, received positive reviews after it was painted in
2011. Inspired by its success and the city's increased artistic momentum, a group of local art appreciators and community leaders
came together at the end of 2011 to spearhead ArtBox, a program to transform City-owned utility boxes into original works of art.
Beyond adding to Salem's spirit of creativity, sense of place and cultural identity, these boxes are meant to beautify and inspire.
ArtBox is now an annual program that is running into its fourth year with 23 boxes completed. The PAC may appoint an ad-hoc
subcommittee to review artists' qualifications and artist concept proposals and make a recommendation back to the PAC.
Recommendations/Action Items:
1. Secure four sponsorships for the program
a. PEM - Location and Design Approved
b. Salem State University-Location Identified
C. North Shore Medical Center - Location Identified
d. Businesses - Location Identified
a. Structures North Consulting Engineers-Location Identified
b. Skomourski Development, LLC
2. Public Art Planner Manages the Call for Artists
a. Artist Selection Panel to include two jurors from sponsoring organizations
3. Publicize the Story mapping webpage for the current boxes
a. Work with Destination Salem to publicize
4. Identify future locations
Budget: No Public Art Funds expended this current fiscal year due to sponsorships.
f
Initiative Two: Artists' Row
• Review Applications and Select Artists for Artists' Row 2016 "Creative Entrepreneur Program"
• Recommendations for Improvements-Salem Artists' Row Framework Plan
Review Applications and Select Artists for Artists' Row 2016 "Creative Entrepreneur Program"
Artists' Row consists of four buildings (see attached map) and is a seasonal space due to lack of heat. It is open from end of May
to beginning of November. A Call for Artists and Artisans (see attached documents) will be sent out from the Department of
Planning and Community Development (DPCD) in December 2015
The PAC will appoint an ad-hoc Art Selection Panel to review artists' qualifications and artist concept proposals and make a
recommendation back to the PAC.
Budget: $1,500.00 for programming events
Recommendations from the PAC for Improvements - Salem Artists' Row Framework Plan - (Unfunded Initiatives)
Infrastructure:
Urban Design
• Remove the shed that houses the restrooms/expand opportunities for programming
• Landscaping
• Lighting
• Wayfinding Signage
Tenants:
■ Selection of tenants based on their contribution to Artists' Row as a destination.
■ Charge tenants reasonable rents and fees. Use the resulting income for marketing, programming, event management.
Programming/Public Art:
1. Expand the number and type of small events that can take place in Artists' Row including nighttime events
2. Sponsor short-term installations of artwork
Initiative Three: Site Specific Public Art Projects
For the second year the City of Salem and the Public Art Commission seeks qualifications from artists and designers interested in
creating a site-responsive public art installation in the heart of downtown Salem during the summer/fall of 2016. The public art
project will be a prominent feature in the kick-off of the Salem Main Streets, Salem Arts Festival, and an annual three-day
celebration of all the arts that will begin June 4, 2016. The site for the public art project is the area surrounding Old Town Hall from
Essex Street on the north side to New Derby Street on the south side. It includes a section of the Essex Street pedestrian mall, all of
Derby Square, and Artists' Row.
Recommendations/Action Items:
1. RFQ for Public Art Installation
2. Artist Selection Panel
3. Marketing and signage for public art installation project
4. Possible collaborations and locations of spaces for public art- (Unfunded initiatives)
a. Collaboration with the City Dept. for PARKing day 2017
b. The Big Hammock-Summer 2016
c. Painted Piano Stairs at Mack Park-Spring 2016
d. Beautification Committee-Mill Hill Train Mural
e. Super Hydrophobic Acid Stencils-Train Station-downtown sidewalk
f. Mural Slam at Artists' Row
g. Art Pianos on Pedestrian Mall
h. Little Free Library Project- Lappin Park
5. Request set-up of a Public Art Fund
Budget: $7,000.00 Site specific project
$ 450.00 fee for three finalists
$ 550.00 Marketing of Project
$8,000.00
Initiative Four: Collection Management/Public Art Inventory
Collection Management/Public Art Inventory
1 . Seek volunteers to document and research public art to include:
a. Statues
b. Murals
c. Artboxes
2. Document Public Art and incorporate into Storymapping website
Budget: $0
Initiative Five: Identify Funding Sources
• Research funding sources for public art
• Build a resource file of funding sources that includes:
a. Name of Foundations or Grant Sources
b. Criteria for Funding
c. Deadlines for Submitting Applications
Budget: $0
Budget - July, 2015-June 2016
Artbox - Site Specific Art Cost Marketing Other Budget
Spring 2016 Project Materials/Signage
10,000.00
Shady Tree Mural $500.00 -$ 500.00
Summer
2015/Ex ended
Derby $7,450.00
Square/Artists Row (includes 3 finalists $550.00 -$8,000.00
Spring 2016 @$150.00
Artists Row
Programming - -$1,500.00
June 2016
$0.00
CALL TO ARTISTS AND DESIGNERS-Request for Qualifications (RFQ)
Public Art Installation in Salem,Massachusetts,Summer 2016
$7,000 budget
Submission Deadline: February 12,2016
The City of Salem seeks qualifications from artists and designers interested in
creating a site-responsive public art installation in the heart of downtown Salem
during the summer/fall of 2016.The public art project will be a prominent feature
in the kick-off of the Salem Main Streets,Salem Arts Festival,an annual three-day
celebration of all the arts that will begin June 4,2016. Artists and designers working
in any media,including light,are encouraged to submit qualifications.The City is
particularly interested in installations that have an impact when viewed across the
site and that are effective at night as well as during the day.
Salem is a growing,culturally diverse city with a rich literary,architectural,
maritime,and immigrant history,including its role in the 17th century Salem Witch
Trials. In the 19th century,it was one of the most important seaports in the country.
Today it is lively destination that draws people from around the world.
The site for the public art project is the area surrounding Old Town Hall from Essex
Street on the north side to New Derby Street on the south side. It includes a section
of the Essex Street pedestrian mall,all of Derby Square,and Artists' Row. Except for
Front Street at the lower end,the site is a pedestrian-only zone. Retail shops,
restaurants,businesses,and residences are located throughout the area. The
architecture includes historic colonial buildings as well as newer structures. In
addition,various landscape and hardscape features could be integrated with the
public art project,such as bollards,steps,lamp posts,brickwork,and trees. Notable
topography from the bottom of the plaza at Front Street to the top of the hill at
Essex Street creates a dramatic space around Old Town Hall.
The City of Salem public art project is an opportunity to create a unique experience
for the thousands of visitors and residents who enjoy downtown Salem in the
summer and fall. In addition to the Salem Arts Festival,several other events,as well
as a weekly farmers'market on Derby Square Plaza,mark the season and draw
crowds to the City.
From this RFQ three to five finalists will be invited to submit concept proposals.
Each finalist or finalist team will be paid a$150 stipend for proposals. One proposal
will be selected for installation. The selection committee is particularly interested
in artists or designers who show promise of creating a project that:
- unifies the series of public spaces within the overall site
- is durable and easily maintainable for four months in exterior conditions
- responds to the physical,historical,and/or social attributes of the site
- reflects high level of quality in design and fabrication
- offers the potential for community interaction
The budget for the Salem Arts Festival public art project is $7,000.00, which must
cover all costs.
Timeline:
February 12, 2016 All electronic submissions due
March 4,2016 Finalists selected
Late March 2016 Finalists present concept proposals in person
April 1, 2016 Final selection announced
April-May 2016 Final development of project
End of May 2015 Installation
Please submit the following:
Resume/Bio with contact information and website (if applicable)
Statement of Interest (50 words or less)
Example of work:
• Title
• Location
• Ten 1peg images of completed work
• Material/Medium
• Dimensions
• Brief Description of the project
How to Submit:
Submissions should be emailed to Deborah Greel, Public Art Planner, City of Salem,
dgreelftsalem.com. If you do not receive a confirmation email within 24 hours,
please re-send or call Deborah at 978-619-5681.
For more information, please contact Deborah Greel: dgreelCtsalem.com
Visit www.salemartsfestival.com for more information about the Salem Arts
Festival.
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Public Art Installation2016 project proposal forof Salem
Kajetan Nowakowski
Aleksandra Nowak
Kay Stained Glass Studio
kanostainedglass@yahoo.com
Lyww.ka nostai nedglass.corn
(617) 792-4142
02/08/2016
Public Art Installation project proposal for the City ofSalem
Table of contents
|0t[0dUCti0D.......................................------.—.--']
Art project specifications ''...,..................—..-------`..........3
/\[t project images..............................................................................................4-7
/\F[is|.s bio...............................................................................................................8
ExamplesOfwork........................................................................................ ..q-l4
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Public Art Installation project proposal for the City of Salem
Introduction
The main idea of the conceptual art installation is to create solar powered
light fixtures featuring stained glass images of witches, letters and
numbers in addition to plant-holders for an added touch of greenery.
The letters and numbers will create chosen expressions or sayings
associated with the City of Salem. Observers will view all the lanterns
placed in various locations across the site to reveal the hidden message.
The foot traffic created will expose customers to many local businesses.
In harmony with the seasons, the planters will hold various types of floral
arrangements which will further beautify the city.
Each custom made lamp is easily portable with interchangeable pieces
that make creative options limitless.
Our project will blend with the historical and social characteristics of the
site which will provide a fun, interactive experience for our community.
02/08/2016
Dublic Art Installation project proposal for the City of Salem
Art project specifications
Materials
• Various pieces of colored glass will introduce onlookers to hand
crafted techniques of stained glass designs.
• Metal construction will provide structural support to overall design.
• Custom wood plant-holder will create base and support for the
lantern and will offer additional space for seasonal flower
arrangements.
• Eco friendly solar powered lanterns will not require additional
electrical wiring leaving zero footprints on environment, making the
art project portable and visible at night.
The project foresees fifteen lanterns and will require approximately 60
days to complete.
Images of witches, letters and numbers can be customized in accordance
to city needs.
Example of hidden message:
Numbers: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
Letters: S A L E M WI T C H C I T Y
02/08/2016
Public Art Installation project proposal for the City of Salem
Image 1
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02/08/2016
Public Art Installation project proposal for the City of Salem
Image 2
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02/08/2016
Public Art Installation project proposal for the City of Salem
Image 4
0' - 9"
SOLAR PANEL
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02/08/2016
Public Art Installation project proposal for the City of Salem
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Above picture represents potential lanterns placement within the site.
02/08/2016
Public Art Installation project proposal for the City of Salem
Artist's bio
j
Kajetan ("Kay") Nowakowski was born and raised in Gdansk, Poland. He
started his career in an artistic field 1981 where he began working in
screen printing studio of "NSZZ ZR Solidarnosc" and was responsible for
design and production of promotional materials. Under the communist
power of Soviet Union and during Civil War in Poland, he was enlisted in
army where he spent three years. After completing his army duty Kajetan
began working again, this time in a jewelry industry and was designing
unique pieces featuring Baltic amber and silver. In 1986 he was approach
by stained glass artist and friend and quickly fell in love with hand crafted
techniques of glass. In 1989 he opened his own stained glass studio and
soon after was collaborating with several artists from other parts of
Europe. He began traveling and working in various glass studios in France,
Germany, Austria, and Poland including Tiffany Art Glass Studio. His work
can be admired in various churches, historic buildings and private
residencies through Europe and currently in the United States.
02/08/2016
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Public Art Installation project proposal for the City of Salem
Examples of work
NuPath's UNITY LIGHT
NUPath's Unity Light is a one-of-a-kind
work of art comprised of 733 unique pieces of
colorful stained glass - each piece representing
an individual, employee, consultant or other
person directly connected with NuPath at the
time of its inception.
The Unity Light project began during the week of Thanksgiving,
2014 under the skilled oversight of Kaletan 'Kay' Nowakowski, a
stained glass designer. Kay spent one day in each of NuPdth's day
program locations to support the NuPath family in bringing this
unique creation to life. Upon conclusion of the final day-long
workshop, every person associated with NuPath had been given the
opportunity to select a distinctive piece of stained glass which was
tagged and marked for specific placement in the illuminated marvel.
This cherished beacon now shines brightly in our lobby with the
LED radiance of over 700 watts of luminous power - ever reminding
U5 that ...
while individually we are all different shapes, sizes and colors,
with our own flaws, imperfections and rough edges,
when MlBi" t0pthePwearetransforRtec! intoa
thing ofntctw4wem 6"Udcy and purpoiae,
casting AItM TI1 arta LILHA onto anyone fortunate
enough to find themselves in our
About "Unity Light" light project
02/08/2016
proposalPublic Art Installation project of Salem11
Examples of work
P- I
St.John's Community Services—
emu
Washington .
02/08/2016
Public Art Installation project proposal • of Salem12
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Public Art Installation project proposal fc�the City of Salem
Examples of work
Window panels
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02/08/2016
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Examples of work
Tiffany's style larips
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A I B C D E F G H J
1 RFQ for Public Art Submissiun 2016
10 Images Material/
Stateme of Medium/ Description
Resum ntof Previous Previous Material/Medi of Project
2 Name Contact Info a/Bio Interest Title Location Work Work um Proposal Proposal
Derby No/only
Undul Sq./Artists of
3 Andrew Bablo Andy@steezdesian.com Yes Yes ation Row concept No Blue Nylon Yes
terrybastian@waterflowers Blue Wave Yes/Minima
4 Terry Bastian ecologicaldesign.com Yes Yes No 9 Images No Material I
Jonathan
5 Sceisa/Lead Jonathan@op-al.com Yes Yes No Derby Sq. Yes Yes No No
Yes/Painti Yes/Painti
6 Andrew Carr andrewcarr(cDamail.com Yes Yes No Derby Sq. ngs ngs Yes Yes
Yes/Cut
7 Leah Grimaldi larimald@smail.com Yes Yes No Derby Sq. Yes Paper No No
S Olga Guse ole uuse4@amail.com Yes No No 7 5 Films Films Video No
9 Peter McLean t)cmclean70@vahoo.com No Confusing Derby Sq. Yes 1Yes Yes
er by
Square/Arti
10 Virginia Melnyk vemelnvk@email.com Yes Yes No sts' Row Yes Yes Sculpture/Light No
Derby
Kajetan kanostainedzlass@vahoo.c Square/Arti Stained Glass
11 Nowakowski om Yes Yes No sts' Row Yes Yes with planters Yes
12 Klaus Pinter info@lightbandstudio.com No Yes No Yes Yes/No No No
13 Miriam Robinson Mrobinson927@amail.com Yes Yes No Yes Yes No No
Square/Arti Steel sculpture,
14 Thaddeus Sadowski ti.sadowski220D¢mail.com Yes Yes lNo sts' Row Yes Yes acrylic/lights Yes
15 Jesa Simon Jesa.lesa@¢mail.com Yes Yes INo lYes Yes IMixed Media No
16 Alec Thibodeau alecthibodeau@¢mail.com Yes Yes I lYes JYes INo No
A B C D E F J G I H I J
Via Glass/Ligh
17 Derek Wang derek li htbandstudio.co No No No Website is No No
Thaddeus Sadowski
508-527-4591 - tj.sadowski22@gmail.com - thaddeussadowski.com -
Ipswich MA
Education
2015 Massachusetts College of Art and Design (MassArt)- BFA Sculpture
Selected Group Exhibitions
2013 Sculpture at Maudslay, Maudslay State Park, Newburyport MA
2014 All School Show, Student Life Gallery, Boston MA
2014 North Bennington Outdoor Sculpture Show, North Bennington VT
2014 Growth Under Pressure, Salem Art Works, Salem NY
2014 The Metal Show, Zeitgeist Gallery, Lowell MA
2015 Between Shores, Student Life Gallery, Boston, MA
2015 Ipswich Outdoor Sculpture Show, Ipswich, MA
2015 Franconia in the City at Casket Arts, Private Viewing, Minneapolis, MN
Experience
2013 Intern -Chris Williams Sculpture
2013-15 Metal Shop Monitor, MassArt
2013-14 Teaching Assistant-Welding, MassArt
2013-15 Student Government Representative - MassArt
2013 Teaching Assistant-Form Study, MassArt
2015 Teaching Assistant- Hot Glass Casting, MassArt
2015 Founder-Sculpture in Open Spaces, Inc.
Residencies
2014 Intern Artist in Residence -Salem Art Works, Salem, NY
2015 Artist in Residence-Franconia Sculpture Park, Franconia, MN
Collections
St. John's Preparatory School, Danvers MA
Cary Hill Sculpture Park, Salem NY
Franconia Sculpture Park, Franconia, MN
Biography
I am a working sculptor and metalworker living in Ipswich, MA. I received my BFA from the
Massachusetts College of Art and Design in 2015. 1 started working large scale because I was
drawn to the physicality of building things bigger than myself. I draw my inspiration from
construction processes, architecture, and the environment around me. My work tends to be
abstract, but I am making a push toward more representational and interactive projects. My work
tells the story of a movement or action using simple, recognizable forms. I seek to beautify the
seemingly mundane and use these everyday forms to gain a better understanding of the world
around us.
Statement of Interest
This project would be a great opportunity to engage the community and create an
interactive installation that is truly site-specific. I have grown more interested in site-specific
works, and am up to the challenge of developing an idea for the festival.
Description of Project
I want to create an interactive sculpture that utilizes light and the viewers touch to
activate. There will be one large steel shipwreck form, with the bow of a ship pointing up out of
the ground. This form will have large acrylic clear plastic portholes on the port and starboard side.
Using a touch sensitive film on the portholes of the ship, the viewers will be able to change the
color of LED lights inside the ship by dragging their fingers across the porthole (through a
protective acrylic sheet). As the viewers on either side moves his or her hand across the surface
of the porthole the colors will complement each other and also connect to strings of LEDs that will
be hung along the Artists' Row. These will urge viewers to experiment and play with color using
light as the medium. Using light and technology the viewers will be in full control of the color
schemes of the piece, and it will create a one-of-a-kind community collaboration.
The Salem Witchcraft Crisis
Sculptures
The History
The facts,in brief,are these: For about nine months in 1692, in Salem and the
surrounding towns in Essex County, MA, at least 144 people(including 38 men) were
accused of witchcraft and jailed; 54 confessed to witchcraft, and 14 women and 5 men
were hanged. Another man was pressed to death and several others died in custody.
Why the witchcraft craze erupted in that particular place, and why so many lost their lives
remains the focus of much interest and research. As with any historical event,many
aspects of culture interact to form a network of causes and consequences. According to
recent scholarship by Mary Beth Norton(In the Devil's Snare, Vintage Books, 2003),
two concurrent experiences in the last quarter of the 17a'century make the strongest case
for causing the witchcraft phenomenon. One was King William's War-4mown also as
the Second Indian War—coming on the heels of the devastating King Philip's War in the
1670s; the other,the Puritan world view. To Puritans,the invisible spirit world was as
real as the visible, everyday world. Since God was responsible for everything they
experienced,they came to believe that God must be punishing them by sending the devil
and his minions--the Wabanakis and witches-to wreak grievous destruction on their
communities. As a result, Puritans were suspicious and afraid of unexplainable events
and strange behavior.
The Salem Witch Trials Memorial Competition
In 1992,to commemorate the tri-centennial of the Salem witchcraft phenomenon, the
Peabody Essex Museum in Salem, MA, launched an international memorial competition
to which hundreds of artists submitted designs. Two colleagues at the University of
Hartford Art School, Hartford, CT, Peter McLean and Christopher Horton, proposed a
series of seventeen modular steel sculptures in chair shapes,each representing one of the
many factors that may have contributed to the witchcraft phenomenon. Their goal was to
present an experience of space, site,and structure/material meant to be surprising,
unsettling and thought provoking. The seventeen sculptures would challenge viewers
with their simplicity and strangeness in a public space and expand their understanding of
the peculiar happenings in 1692.
The Maquettes
Christopher Horton and Peter McLean constructed the models of basswood from 4 to 12
inches high and wrote accompanying texts that explain the connection of the somewhat
abstract"witness chair"designs to the actual culture and history—beliefs and events—in
late 17a' century northeastern New England. The"chairs"are not decorative,exclusively
aesthetic, or"site specific,"except in a historical sense. They are interpretive/educational
artworks that provide a rich,new integration of art and history, lead to fuller appreciation
of the difficulties of life in early colonial America, and raise questions about human
nature and behavior today. The maquettes have been exhibited previously at the
University of Hartford Art School,Amherst College,the Worthington, Massachusetts
Historical Society,and the Simsbury(CT)Genealogical and Historical Research Library.
One of the chair designs, an eighteen-foot steel sculpture, "Jacob's Ladder,"has been
constructed and is now installed outside the Worthington,MA, Historical Society.
"Jacob's Ladder"refers to Genesis 28:12: "And he [Jacob] dreamed, and behold a ladder
set up on the earth, and the top of it reached to heaven: and behold the angels of God
ascending and descending on it."For those accused of witchcraft,the ladder to heaven
had been cut off, a horrific thought.
We hope that exhibiting the maquettes will generate interest in constructing more of the
larger-than-life-size"chairs,"which would be placed outdoors in an easily accessible
public space. By casually happening upon one or more of the sculptures or by following a
specific route on an art trail or in an art park, viewers would build a sense of discovery
and connection among events and social forces. These sculptures would become markers
for local places, attractions unusual in America: simple and strong, reminders of our
origins, of some of our difficulties,and of our perseverance as a people.
Chair Symbolism
Ongoing props in the narrative of life, chairs are universal structures of comfort,power,
role,responsibility, governance, and sociability. With some of these maquettes,the
relationship between art and history is quite simple. For example, viewers easily connect
the pulpit, magistrate, accused,confessional, and gallows chairs to well-known aspects of
the Salem witchcraft story. Other chairs are more subtle in resonance;the
property/boundaries chair,the vanity table, and the chopping block may require a more
thoughtful reading of the texts. The collection as a whole is an experience of connecting
the dots,each chair contributing to a complex story, each necessary to begin to
understand an aspect of 17`h century colonial history, indeed to begin to understand fear
and paranoia in current global events and in our own lives.
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Home •
Worthington Historical Society » Articles » The Chair at the Corners
The Kitty O'Shea Stone n
The Chair at the Corners
December 9,2012 1 Articles
by Diane Brenner
Photographs are by Diane Brenner unless otherwise
indicated.
You may have watched it arrive.The large metal chair-
like sculpture recently planted at the edge of the
Historical Society lawn has a lot of people perplexed.
And the title—Jacob's Ladder—what does it mean?Why `
a chair?And why honor the Jacob's Ladder Trail, the
scenic byway on Route 20 from Russell to Lee? (Spoiler
alert: it is a chair, it does not honor anything along Route \
20.)There's history here—going back, in New England,
to the 1690s—as well as some surprising links to the
Worthington of today.
The sculpture was designed by local artist Peter McLean
and his collaborator Christopher Horton in 1992. It is
one of a series of"chairs"they envisioned as their entry
for a competition held by the Salem Witch Trials
Tercentenary Committee. The Committee was seeking to
;.
memorialize those who suffered through the bleak but
enduringly influential period in 1692 when the Puritans,
having fled persecution in England, were first Peter McLean's sculpture,Jacob's Ladder, at the
establishing themselves along the New England coast. Worthington Historical Society. (Photo by KateEwald)
http:pwww.worthingtmNstoricalsociety.mg/wmdpressRp=294 1122
2(//2016 The Chair at the Corners-Worthington Historical Society
Jacob's Ladder was fabricated in 2011 by Gene Flores of
Plainfield.The sculpture, made of black welded steel, is 18 feet high and weighs 850 pounds.The bottom portior
measures 42" x 42" x 42".The distance between ladder rungs represent a Fibonacci series, also known as the
"golden ratio,' in which each distance is the sum of the two distances preceding it.The`lrst distance is the small
slot at the front of the seat portion.
Until recently, the sculpture graced the yard at the McLean house on Sam Hill Road; its journey to the
Worthington Historical Society lawn is just a part of the story.
,[ /
f,
Peter McLean Sr.watches from his lawn.
Peter McLean Sr., Peter McLean Jr.,and
Gene Flores being lifting sculpture onto
Gene's truck.
En route.
http://www.worh gtonhiytaricalsociety.org/wordpress/?p=299 2122
2/7/2016 The Char at the Corners-Worthington Historical Society
Almost -eady.
The Salem Witch Trials
During the summer of 1692—
on June 10,July 19, August 19,
.� Z
September 19 and September
22—men and women, all \\ • a �—
convicted of witchcraft, were
carted to Gallows Hill in Salem
where they were hanged.Their Iq'"'tit,\111\\ „�ji�`b ,' y R ` v c R
death warrants were handed � � i / I
down followinga brief, r[ : oil
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hysteria-fueled period ofH L ` '
evidence gathering and trials. p•y `'
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A total of 19 people were Z
hanged, and an octogenarian
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was pressed to death for
refusing to submit to a trial.
A map with the purported location of Gallows Hill in Salem,
Hundreds of others were Massachusetts, made by William Freeman in 1933. (Source:
accused and dozensjailed for http://www.boudillion.com/gallowshill/gallowshiII.htm)
months with or without trial—
where they had to pay for their
own food and lodging —as the witch hunt extended rapidly from Salem and Andover throughout the Puritan
Massachusetts Bay Colony.Then almost as suddenly it stopped, although rancor, recriminations and legal battles
http://www.worhrigtmNstuicalsociety.orgANadprmsr2p�-294 3/22
217/2016 The Chair at the Corners-Worthington Historical Society
continued for decades.The section of Salem where many of the accusers and victims had lived separated from
Salem Village and was reincorporated as the town of Danvers. Many of the participants moved away.
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A petition on behalf of the accused Rebecca Nurse, signed by many of her friends and
neighbors.It did no good.
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The death warrant for Rebecca Nurse.
There are numerous accounts of what happened as well as a huge archive of documentation created by those
who prosecuted and adjudicated the proceedings.And while the witch hysteria in this country was brief, its
httpl/www.worthirgtonhistoricalsociety.org/wordpress/?p=294 522
2172016 The Chair at ft Corners-Worthington Historical Society
effects have been long-lasting.The complex religious, cultural, economic, medical and physiological factors
underlying it have engendered much discussion and generated vast amounts of scholarly writing as well as
enduring art and literature.As noted on the Salem Memorial Site: "To this day,the events of 1692 are used as a
yardstick to measure the depth of civility and due process in our society."
The Salem Tercentenary Witch Trials Memorial
Contest
G
In 1991, in anticipation of the 300th anniversary of the
trials, the Salem Witch Trials Tercentenary Committee
announced an international design competition with a
Peter McLean $100,000 prize, seeking a memorial "to honor the
playing the victims of the Salem Witch Trials of 1692."246
dobro. submissions were received.
(Source:
Country McLean and Horton, both professors at the Hartford
Roads Art School had a longstanding interest in public art
website)
and monuments.They proposed a series of sixteen,
slightly abstract steel chair sculptures each symbolizing
a factor that contributed to the anti-witch hysteria in 17th-century New
Christopher Horton England.They chose chairs because in European cultures they are symtols of
enjoying one of his "comfort, power, position...hospitality, governance and sociability."They also
favorite places. (Source:
Amherst College provided a structure for representing "the complexity of the Salem witchcraft
website) phenomenon." Each chair was to be placed randomly throughout the
cityaccompanied by a written text that explained its meaning.They were
"meant to be surprising, unsettling and thought provoking...not decorative"
and to "challenge viewers with their simplicity and strangeness in a public space."Their proposal, which
consisted of drawings, received an Honorable Mention. (You can see the winner here.)
httpltwww.watiingfontustoricalsociety.orgMordpressr?p=294 6/22
27(1016 The Chair at the Corners-Worthington F istai cal Society
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A drawing submitted for the contest, showing the chairs along a two-dimensional grid
designed to give a sense of their relative size. (Photo by Kate Ewald)
I' I
More from the original submission.
The Maquettes
Unwilling to give up on their good idea, and hoping to interest other communities and historical societies in the
project, McLean and Horton decided to expand the number of chairs to twenty (reflecting the number of victims)
http://www.worthirgtwhistoricalsociety.ag/wadpress/?0294 7122
2/712016 The Chair at the Corners-Worthington Historical Society
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The maquettes at the center of the main room of the Worthington Historical Society. (photo by Kate Ewald)
hftp://www.worthingtonhistoricalsmiety.ug/wordpress/?p=294 9/22
2(/2016 The Chair at the Corners-Worthington Historical Society
and built a wooden maquette (three-
dimensional scale model) for each one.The
maquette was accompanied by a description
of the piece that explained its symbolism and
its relationship to the events at Salem.The
original designs were modified slightly during
the maquette-building process.
In the case of Jacob's Ladder, the chair—with
its rungs arranged in harmonic progression
from the lowest level to on high— represents _
the path to heaven, the goal ascribed to by
many Puritan settlers. an the original drawing,
the rungs run the other way and the top isn't
broken.) The name refers to a passage in
Genesis 28:12: "And he dreamed and behold a
ladder set up on the earth, and the top of it L
reached to heaven: and behold the angels of
God ascending and descending on it."The
broken top is symbolic of the devastating loss
of the possibility of entering heaven that many
of the accused faced when threatened with
excommunication.
Sadly, Chris Horton died in 2002, and the
project was abandoned. The maquette for Jacob's Ladder.The original label
reads:
The Exhibit HEAVEN (Jacob's Ladder)
Belief in God and in an etemal afterlife in heaven was
In 2009, McLean approached the Worthington almost universal among colonial Americans.In the harsh
conditions and constant threats of frontier existence,the
Historical Society to mount an exhibit of the notion that a whole life of Christian sacrifice, religious
Salem maquettes.The board agreed, providing devotion, and good works could be destroyed by the
that some links could be found to machinations of the devil must have been most horrific
Worthington. These links were not too hard to to contemplate.
Almost worse than accusations and executions was
find. Following the trials, many of those excommunication from the church, breaking off the
affected left the Salem area, moving eventually ladder to heaven. (Photo by Peter McLean)
to the part of southeastern Connecticut from
which several of Worthington's "pioneers"
migrated. We discovered current residents—members of the Cleveland, Dodge, Randall and VanGuilder families
—who are descended from those who were executed, notably Rebecca Nurse, Martha Carrier and Simon
Wardwell. The pioneering Kinne family turned out to be related to a key trial witness.
http://www.worthirgtwhistoricalsociety.agtwadpress/?p=294 8/22
2/7/2016 The Chair at the Corr s-Worthi4m Historical Society
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The maquettes.
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Exhibit accompanying the maquettes:Ideas in development.
http://www.worthirigtonhistoricalsociety.orgtwadpress/?p=294 11122
2r/2016 The Chair at the Corners-Worthington Historical Society
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From the exhibit: The victims with connections to Worthington, along with
genealogies.
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2(1/2016 The Chair at the Corners-W utiirgw Historical Society
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Viewers at the exhibit (from left) Pat Kennedy, Bob Randall, Elodi McBride, Peter McLean,
and Oliver Wiley.
For the exhibit, the maquettes were mounted on small platforms at the center of the main room of the
Worthington Historical Society.Along the walls were displays with the original drawings illustrating the design
process, as well as information about the artists,the contest, Puritan-era Salem, and the accusers,judges and
victims, plus genealogies with links to folks living in Worthington.The show attracted much interest.
The Sculpture
Peter McLean had always hoped to build full-size versions of his models.In 2012, he finally amassed sufficient
funding to build the first one.Working with Plainfield metal sculptor Gene Flores,the original design was slightly
modified and then fabricated from steel. At a towering 18 feet, it was not easy to find a location for it, and it was
initially installed at McLean's home on Sam Hill Road.After a series of discussions, the board of the Historical
Society accepted McLean's proposal to loan the Society the sculpture and provide it with a home until a
permanent place could be found. On September 22, 2012, Flores, McLean, and Peter McLean Jr. removed the
850-pound sculpture from McLean's yard, mounted it on the Flores truck, carted it to the Historical Society lawn,
and installed it.The process took about three hours and is documented below:
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McLean Sr., Bob Epperly and Ted Claydon watch
McLean Jr. during the leveling process.
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Ted Claydon:It's level.
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2(7/2016 The Chair at the Corners-Worthington Historical Society
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Chair in situ.
A second chair,titled Accused, has been commissioned and will again be fabricated by Flores.Where it will reside
is still undetermined. McLean is hoping to use the full-size sculptures to entice a museum—ideally along the
North Shore where the events originally occurred—to provide a permanent home for these evocative and
powerful works.
ABOUT THE CONTRIBUTOR
Diane Brenner moved from Egremont, MA,to Worthington in 1994 into a white elephant she shares with her
spouse, Jan Roby. She is an indexer with a background in public health and an avid interest in historical research
and genealogy. She is a longtime member of the board of the Worthington Historical Society, and has teen
active as one of the society's archivists, helping to create many recent WHS exhibits—including the one
discussed in this article. She also serves on the Worthington Historical Commission, the Worthington Board of
httpl/www.worthirgtonhistoricalsociety.org/wadpress/?p=294 1822
2/712016 The Chair at the Comers-Wort irgtom Historical Society
Health and the board of the Hilltown Community Health Centers.
For More Information
If you want to learn more about the Salem Witch Trials, the
Wikipedia article is a good place to start It has an extensive
bibliography and references. For those who like their history "raw"
or only lightly processed,you can't beat the University of Virginia's
Salem Witchcraft Trials Documentary Archive and Transcription
Project And for those interested in historical correctness,ycu
might be interested in the debate about the exact location of
Gallows Hill Go to Peter McLean's website If you would like to see
all the maquettes up close, and read their descriptions.
Accused, the next maquette to be
fabricated as a full-size sculpture.The
original label reads in part "In the late
17th century in Salem, Andover, and
surrounding towns, deep paranoia
and fear existed among the
colonialists. Old slights and feuds,
disagreements over possessions and
land, suspicious behavior,jealousy,
spite, conflicts over inheritance,
rumor, and reports from afar
especially about commingling with
Indians were some of the bases for
accusation and persecution. Like a
bolt from the sky, anyone at any
moment could be accused of
consorting with or being a witch."
Bookmark the permalink.
The Kitty O'Shea Stone
4 Responses to The Chair at the Corners
http://www.worthirgtwhistoricedsociety.org/wordpressr?p=294 79122
2/7/2016 The Chair at the Corners-Worthington Historical Society
Richard Mansfield December 10, 2012 at 6:01 pm
This helps so much. The ladder-chair is not soothing to look at, nor is the story. I hope it stays until
the next chair is ready.
Reply
whs December 11,2012 at 1:37 pm
Thanks Richard, appreciate the feedback. I think a lot of people have been confused by it. And
while it may bejarring, at first glance, it can, especially when the light is right and there is a play
of shadows, look quite beautiful. Diane
Reply
Beverly Bowman January 23, 2013 at 8:56 pm
Interesting account. My husband, (George) Grant Bowman, is also a descendant of Rebecca Nurse.
Perhaps we're related to the Randalls!
Reply
F1Diane Brenner February 4, 2013 at 4:46 pm
And the Clevelands and the Dodges as it turns out! Wish we'd known about Grant at the time of
the event. FYI, one of the Nurse granddaughters ended up marrying one of the Kinne grandsons
(or maybe it was the other way around), anyway the families that had once been accuser and
accused, ending upjoined together. Fitting!
Reply
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http://www.worhrigtonhistoricalsmiety.org/wadpress/' 294 20/22
Accused
In the late 17' century in Salem, Andover, and
surrounding towns in northeastern New England, deep
paranoia and fear existed among the colonists. Old
slights and feuds, disagreements over possessions and
land, suspicious behavior, jealousy, spite, rumor, and
reports from afar, especially about commingling with
Indians, were some of the bases for accusation and
► persecution.
Like a bolt from the sky, anyone at any moment could
be accused of consorting with or being a witch. Even
the most respected, devout and reputable citizens,
along with those more contrary and divergent, could
be "cried out,"jailed,
brought to trial and judged according to testimony of neighbors and relatives.
A charge made against someone could be immediate, unpredictable and
devastating. Families were ruined, friendships and civility destroyed, and twenty
"witches"killed in Salem alone.
Witch's Keyhole
IIIIIII
Witches were able to enter a house or room through the smallest
I111 ick or hole. Locks were of no use in preventing their access and
-��- appearance anytime and anywhere. Some victims—pinched, poked,
speared, pushed, pulled, stretched, bitten, thrown down and tossed
about—converted to the devil's side and signed away their lives in
his evil book Hundreds of others were constantly harassed.
The predominant violators of Massachusetts "keyholes" were
specters of friends, neighbors, relatives, and unknown persons who
had capitulated to Satan in his unholy war for America and come to
capture the bodies and souls of all citizens. Most unwelcome guests,
there seemed to be no escape from witches except through their
extermination.
Cultural Displacement
I
I Hundreds of contacts with Native Americans in
New England took place during the 10' and 17'
centuries as a result of European exploration
and trading activities. The trading objects
introduced to them, such as the gun, iron knives
and pots, and woolen blankets, created a
powerful dependence on European goods.
This began the acculturation process, in which
Native Americans lost many of the traditional
1 skills that had allowed them to survive in the
1
' harsh New England environment for hundreds
of years.
Vanity
Being thought to have the power to answer
"Who is a witch?" gave the accusing girls great
importance, gratified their vanity and pride,
and exalted them to the status of prophetesses.
Besides the young women who "cried out"
witches, other citizens of Salem and
surrounding towns who also testified,
undoubtedly suffered from the flaw of vanity.
Considering the self as all-important,
exceptional and superior in appearance,
intelligence, character or spiritual worth
leaves little room for empathy or understanding of others. Instead, prejudice,
suspicion,fear and hatred of the other seemed to prevail.
Inheritance
The hysteria surrounding the events leading to the Salem
1
JWitch Trials resulted from complicated factors. One
factor was the absence of local sources of information
Fsuch as newspapers to keep people accurately informed.
Local and regional news passed from person to person so
r that hearsay, gossip and rumors fostered distortions of
events.
I_ a
In addition, there was much confusion in the Salem and
Essex County governing structure, as well as in the ruling
Massachusetts Bay Colony Charter, concerning taxes,
records of land transactions and accurate boundary lines between townships. This
led to many local disputes.
Another major problem was the process of family inheritance. For example,when
a widow whose husband had acquired valuable land parcels and financial assets
inherited this wealth, she should have allocated it to her first offspring. But if she
remarried and her new husband took control of the estate, distributing that
wealth fairly among additional children often became a volatile source of family
conflict.
Property/Boundaries
Superimposing the geometric grid of European land
ownership on top of the fluid and organic use of land by
the Indians was a disastrous source of conflict between the
two civilizations. It resulted in three centuries of war and
1 I exploitation of all Native Americans.
� II
Developed and undeveloped land was America's most
desired commodity. Granted and charted property
1 overlapped and conflicted. With undependable maps,
l unclear and fragmented surveys, line markings and
boundaries, land disputes were common. Town boundaries
overlapped and caused some to be taxed twice.
Complex inheritance divisions of property to widows,sons, daughters, sons-in-law,
daughters-in-law, and stepchildren from multiple marriages led to illegal use of
others' land, court cases, angry confrontations, physical assaults, jealousy, and
animosity. Quite a few of these disputes evolved into persecution of and
retribution against former friends and neighbors through charges of witchcraft.
Neighbors (Gossip/Rumor)
111 After blood ties of immediate family and the often
III complicated relations in re-marriage, neighbors formed
the next level of social cohesion in Salem and
1
surrounding communities. Their very survival depended
on the good will of neighbors. Building common
structures, clearing land, harvesting crops, nursing the
ill, and caring for children joined neighbors in common purpose and common
values; as did duties in the church, town governance, trade, travel, and
participation in the town militia.
Naturally, neighborly relations were not always amicable or productive. Human
nature ensured that jealousy, spite and antagonism appeared from time to time.
Under the growing pressure of the witchcraft epidemic, these negative qualities,
fanned by rumor, exploded to destroy previously strong social bonds. Many
neighbors signed petitions supporting the innocence of the accused, but many
others turned against them in fear and hatred,blaming all their own problems on
the supposed witches. The "crying out" of the young girls, the testimony and
exaggerated accusations of neighbors and thousands of extraordinary reports of
specter visitation swung the court toward a verdict of guilty in the case of almost
every suspect brought before it.
The 'Neighbors" chairs are placed back to back and separated by a gate that
cannot be opened. They each have a "gossip hole" through which things can be
whispered and overheard.
Chopping Block
AL An empty chopping block: No chickens to behead,
no pig or lamb to slaughter for meat that could be
salted and barreled for the winter meant deprivation
or starvation.
Livestock meant survival. When an animal went
lame or sick or suddenly died of a mysterious
condition, witchcraft and Satan's scheming were frequently blamed. Persons
known to have associated with specific animals or their owners when such
incidents occurred were as likely to be accused of being witches as those whose
specters so frequently afflicted the community. Similar incidents from the past
were recalled (or fabricated) and ascribed to the recently accused.
Abduction/Captivity
In the brutal Pequot(1635),King Philip's(1675-76), and King William's(1688-97)
French and Indian Wars, abduction by native people was a frequent occurrence that
terrified the small frontier settlements and threatened the very survival of the Colony.
During the King Philip's War, for example,twenty-six towns in the Boston area were
attacked and burned by the Wampanoag,Narragansett,and Nipmuc tribes. Thousands of
people were killed. Most of the hundreds who were captured were removed to the deep,
dense wilderness,and many died en route. Those who survived were repatriated through
ransom or material exchange.
The brutal events experienced by some of the girls may have resulted in a state of surreal
paranoia and may have contributed to their becoming early victims and accusers of
bewitching activity.
The Abduction/Captivity chair suggests a metaphor through a modular structural form.
The chair(figure)is removed from a solid house-like mass, leaving its negative imprint
(ground).
Pulpit
Central to every colonial town or village in America was a church
and church leadership. For doctrine,biblical wisdom,religious
observance and spiritual guidance,ministers were the most
powerful social forces in the early colonies.
Often at the fulcrum of a seesaw between hysterical claims and
rational evaluations of witchcraft,ministers were the final
authority concerning the existence of witches,their bewitchment
of others,the appearance and work of specters, and the Devil's
grand scheme,strategies and operations.
What issued from the pulpits of Salem and surrounding towns were often
instructions for all Christians and colonists in their great battle.
Confessional
While confession of sins was an established part of
European Catholicism, the Puritan and Protestant sects in
New England did not include confession in their religious
practice. However, in the process of uncovering and
prosecuting witchcraft, confession held great social and
legal importance,taking on an almost religious fervor.
If an accused person did not confess to the practice of
witchcraft and allegiance with the devil, he/she was much
more likely to be hanged.Those who did admit to the black
arts and satanic conversion were jailed, but were not in
immediate danger of hanging. Secret witchery was clearly
more threatening than confession of guilt.
But community pressures leading to confession were fraught with subjectivity,
fear and anger. Charges of witchcraft were elaborated and relentlessly seconded
by "witnesses" who gave false testimony in the trials. Hearing these claims so
often and in so many guises often convinced the accused that they were actually
guilty. If they did not give in to this self-deceit, they may have capitulated just to
end the torrent of verbal persecution.
Confession led to excommunication in many cases, an overlapping of religious
and legal consequences. Given that "spectral evidence" was such dubious grounds
for conviction, it is doubly ironic that confession should have played such an
important part in determining guilt
Heaven (Jacob's Ladder)
"And he dreamed, and behold a ladder set up on the
earth, and the top of it reached to heaven: and
behold the angels of God ascending and descending
on it." Genesis: 28-12
Belief in God and in an eternal afterlife in heaven was
almost universal among colonial Americans. In the
harsh conditions and constant threats of frontier
existence, the notion that a whole life of Christian
sacrifice, religious devotion and good works could be
I
IL
destroyed by the machinations of the devil must have been most horrific to
contemplate. Almost worse than accusations and executions for witchcraft was
excommunication from the church,breaking off the ladder to heaven.
Jail (Gaol)
1
In 1692, over 150 persons were jailed for
witchcraft in Salem and nearby towns. Those
who confessed to being witches were spared
LOW I execution, but were locked up for months or
j a year or more. Those who did not confess
were convicted of being witches and jailed to
await final sentencing.
Jail conditions were abominable. At least four, and possibly seventeen,
adults and children are known to have died there. Many others suffered
great deprivation and trauma. The prisoners had to pay fees for their
"lodging and feeding." Being removed from farm and subsistence work for
months and years, and paying fees for incarceration, bankrupted many
families, and they lost their land and homes. More fortunate victims either
had large sums of money available to buy their way out of jail or escaped
with the aid of sympathetic friends.We do not know the names of all of the
persons jailed or of others who lost their lives.
The "Gaol Chair": Family and friends could visit prisoners, although the
distance to Boston made visits there difficult Information shared among
the accused prisoners with visitors from in and around Salem, who
brought news of new accusations, crying outs, testimonies, trials and
convictions, surely ramped up the panic and paranoia among all. The
magistrates often interrogated the accused in the dungeons, not an
environment conducive to truth and fairness.
Magistrates
Though most of the magistrates conducting the witchcraft
trials were not from Salem, they unrelentingly pursued
suspected witches through their discovery, arrest,
prosecution and execution. The magistrates were far more
committed to this task than local citizens were, many of
whom, along with relatives, supported the accused with
petitions and lists of signatures attesting to their good
character,religious dedication and innocence.
The "trials" in the town meetinghouse were attended by large crowds from near
and far: accusers, witnesses, the accused, and the young girls who "cried out"
many of the suspects. The magistrates probably held strongly to the prevailing,
frightening belief concerning the sudden proliferation of witchcraft incidents:
The devil was implementing his master plan to take over the whole of settled
America, destroy the colonies, eliminate its inhabitants, and return its land to his
minions,the Native American Indians.
Despite much evidence and many voices to the contrary, the magistrates must
have felt they were the last defenses in a life-and-death battle for colonial
survival. They leaned heavily towards prosecuting and convicting many
innocents as witches. It has been suggested that some of the magistrates who
failed to protect the colonies from incursion and attack by the Indians and the
French may have projected onto witchcraft their own shortcomings.
Devil's Grate
A method of forcing confessions from suspected European
witches was a chair with an iron grate for a seat called the
Devil's Grate. A fire was set under it while the accused was
tied to it The fire continued until the victim relented and
admitted to the practice of witchcraft.
Although this particular practice was not used in the Massachusetts Bay Colony
during the Salem Trials period, many European methods of torture and
execution were practiced in the Indian warfare, which ranged throughout New
England in the 17t° century. These included the Pequot, King Phillip's, and King
William's Wars (The French and Indian War).
For convicted witches, execution meant hanging.The one exception was the
execution of a convicted man by"pressing."This method had French roots and
was called"Peine forte et Dure."
Crusher Sled
Modeled on a stone boat or sled, this sculpture
refers to the heavy and constant work with
d teams of oxen or horses that early settlers did
to move stones to clear fields and to use in
construction.
During the witchcraft phenomenon, a sled was
used to inflict torture. In one case, the method
of torture, derived from the European
u
Inquisition, was to slowly pile more and more
rocks upon the chest of the accused until
he/she relented and admitted to being a witch. One victim, in this case a man,
Gilles Corey, stayed completely mute throughout the excruciating process of
crushing. After his death, excusing their culpability, the magistrates stated, "His
life passed accidentally from him."
Gallows
rT Whether a gallows was built or the convicted were
strung upon the limbs of a large tree on a rocky
ledge overlooking Salem and its estuary,this English
Iand colonial method of execution was both horrific
Iand spectacular.
I •
I ' The hanging events of 1692 were hugely attended
public affairs. Provincial leaders and masses of
people came from as far as Boston to watch. While
climbing the ladder to their fate, victims prayed,
asked forgiveness, begged for God's mercy, pointed
to the mistakes of the court and restated their
innocence. These supplications often
affected their fellow citizens in the crowds who reacted with sympathy and regret
for the miscarriage of justice.
Afterwards, the bodies were piled in a common shallow grave nearby,from which
some relatives were able to retrieve them and provide proper burial. Thus the
gallows, which was hoped would end the invasion of evil and provide a catharsis
for the community, was the ultimate tragedy of the time: a consequence of
human error and foible.
Leah Grimaldi O'Ryan
54 Forrester Street
Unit 6
Salem, MA 01970
Igrimald@gmail.com
Statement of Interest
Dear Deborah Greel,
I'm applying to make a public installation for downtown Salem inspired by
Salem's diverse population and some of their personal stories. I would begin
research for a public piece by asking Salem residents to share some of their stories
with me.
Leah Grimaldi O'Ryan
54 Forrester Street
Unit 6
Salem, MA 01970
Igrimald@gmail.com
Work Example Information
Title: Medea's Reason
Location: my hallway
Material: cut paper,watercolor, ink,T-pins
Dimensions: around 75 square feet, but variable
Description: I began working on "Medea's Reason' in September of 2014 by reading
Euripides's Medea and essays on the character.As I researched, I sketched to
investigate Medea's complexity."Medea's Reason" has taken the form of cut paper
shapes. Colorful shapes painted with watercolor sprawl across walls and are found
overtaking architectural elements like molding and utilitarian objects like outlets.
Leah Grimaldi O'Ryan
54 Forrester Street
Unit 6
Salem, MA 01970
Igrimald@gmail.com
http://www.leahgrimaldioryan.com/
Education
Vermont College of Fine Art, Montpelier, VT
-MFA in Visual Art Feb. 2011
Pratt Institute, Brooklyn, NY
-BFA in Painting, Graduated Highest Honors May 2007
-President's List 2004-2007
-Honorable Mention in Pratt Senior Exhibition 2007
Solo Exhibitions
Worms Under My Skin, CONcourse Gallery, North Adams, MA 2014
Seduction and Disgust: Touch Me, Twist Art Gallery, Nashville, TN 2011
Selected Two-Person Exhibitions
Getting There: Terror and Desire In Uneasy Times, Atlantic Works Gallery, Boston,
MA 2012
Landscapes of the Mind, Gail Cahalan Gallery, Providence, RI 2008
Public Work
Fragments, public utility box on Derby Street in Salem, MA 2012
Selected Group Exhibitions
30 Under 30, The Art Gallery, Whipple Fine Arts Building, Umpqua Community College,
Roseburg, OR 2013
Contact Boundary, The Art Gallery, Whipple Fine Arts Building, Umpqua Community
College, Roseburg, OR 2013
North American Graduate Art Survey, Katherine E. Nash Gallery, University of Minne-
sota, Minneapolis, MN 2011
A Lot of Possibilities #2, Winter Space, New, NY 2010
5 Dollar Store, Mortville, Chicago, IL 2009
Small Works Exhibition, Salon Seven, Sevengaits Project Space, Southbridge, MA
2008
General Show, One Way Gallery, Narragansett, RI 2006
Smaller Is Better, Schiltkamp Gallery at the Traina Center for the Arts at Clark Universi-
ty, Worcester, MA 2006
Review
On responding to art -- and, in particular, the national student show at the Nash
Gallery, by Max Sparber, Published Wed, Jan 19 2011 9:36 am. Max About Town. Min-
npost.com 2011
Teaching Experience
Arsenal Center for the Arts Watertown, MA 2011-2012, 2014-present
Teaching 8-week drawing and painting classes
Arlington Community Education Arlington, MA 2012
Teaching 8 week long beginning watercolor class
Creative Arts Reading, MA 2012
Teaching art workshops for children aged 6-12
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Hello!
My name is Olga Guse. I want to present my video art works:
My animation film "The Three Spirits" you can watch and download:
https://vimeo.com/144205677
password: guse
Synopsis
Throughout his life,man has three basic feelings: fear,pride and passion. Having overcome one
of these, we continue fighting against the others, thus heading for life in circle ...
My experimental animation film "Decadence of Nature" you can watch and download:
https://vimeo.com/100042347
Synopsis
Earth pollution is increasing at alarming speed.Fantastic creatures, animals-people try to survive
in the new conditions.
On the one hand,they suffer from pollution, on the other they continue to sail on the waves of
the consumer society.
My animation film "The Astronaut" you can watch and download:
https://vimeo.com/125275657
password: guse
Synopsis
The American astronaut embarks on a space journey. His intrusion violates intergalactic balance:
the inhabitants of other planets suffer the consequences of these changes. The
disappointed astronaut returnes to Earth. And the life in space falls back into place.
My animation film "Journey to the Olympus" you can watch and download:
https://vimeo.com/1 07400576
password: guse
Synopsis
The film has two story lines. The first one shows life on Mount Olympus:the world of the
Greek gods, Apollo, Athena,
Zeus, Hennes and the Minotaur, and the surrounding mythical symbols. The gods rejoice, weep
and interact, which means, they live on Olympus.
The second story line is about the journey of a small ship to Olympus. On his way it overcomes
all kinds of obstacles - from the stormy seas to mythical monsters. The ship symbolizes the
fearless spirit of the hero, who throughout his life, being of good cheer, moves towards his goal,
Olympus.
My animation film "An Apple for the Androgyne" you can watch and download:
https://vimeo.com/1 31446960
password: guse
Synopsis
Androgyne is a symbol of man born physically or mentally between the two sexes. Throughout
his life, he is torn between male and female, Adam and Eve inside and outside.
My biographie
Born 14.01.1981 in the city of Saratov, Russia
study
1996 -2000 State Regional Art School in Saratov,Russia
2001 - 2003 studies at the University of Saratov , RF
Field of study: Art History
Since 2003 lives and works in Germany, Dresden.
Since 2015 director of International Experimental Animation Festival BEARin Dresden,
Germany.
Creator of many animated films participated in different international art and film-festivals.
more info :http://olga-guse.wix.com/guse#!abouticl0fk
The largest of them:
XXVII Festival Les Instants Vid6o (Frankreich); 17th International Art Exhibition NordArt(D);
8th The Digital Graffiti at Alys Beach Festival(USA); 8,9th OSTRALE international panorama
exhibitions of contemporary arts in Europe (D); 7th INCUBARTE International Art Festival
(Spanien), Aurora Arts Festival in Dallas(USA).
Awards:
8th The Digital Graffiti at Alys Beach Festival (2015; Panama City Beach, USA) Honorable
mentions Award
th INCUBARTE International Art Festival (2015; Valencia, Spain): awarded from Centre d' Art
Contemporani Addaya
more info : www.olga-guse.wix.com/guse
Best regards
Olga Guse
Altpieschen 15a,
01127 Dresden Germany
tel. +49(0)17699066961
project
dance
description performance
Art prints to animate an audience to try out dance steps.Paper,
music,dance...
The viewers(on take the prink away or/and filling the pieces together. ff
title
untitled I
technique
paper(postcards)
U
size
10 x 15 an (21 x 29,7 cm)
ca.30pieces
colours;(black,while,yellow,red)
+if outdoor-a walcuproof box and glow sticks
Position
indoor:table,ground
outdoor.free+box
organilsolion
*postal delivery
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exhibition u.a.
Tiroler landesmuseum Ferdinandeum,Innsbruck,1995 YOU FAIN,Salzburg,2010 "dormART"Interreafionales Kunslprojekl zum Thema"Schluf",Dortmund,2006
Wultherhous,Boren,1995 society's mood,gall,Wien,2010 "Die starken Helden",Leipzig,2007
Europohous,Klagenfurt,1995 Mail Art,NFA,Trier,2010 Preisfroge 2007"Wovon Iruumen wir?",Berlin,2008
Humtlerzentrum SchloB Pari,Grieskirchen,1995 design week,Mailand,2011 hewegter wind,Waldeck-Frankenberg,2008
Siddtische Golerie,Lienz,1995, LOCALIZE,Potsdam,2011 Kumnage Rhein-Erh,Pulheim,2008
Herz Museum ouf Zeit,Regensburg,1996 BUTTERBROT,VERGHUGEN,Berlin,2011 Im Haman der Uppischen Rose,Horn-Bad Meinbarg,2008
Academy of Fine Arts in Posen,Polen,1998 Lust&Liebe,Eschenou,2011 Kulturstrick,Deggendorl,2009
Kumluniversitot Helsinki,1999 SlageTheSpoce,Berlin,2011 Toleranz-Grenze,6gneck,2009
Galerie ort2arl(online),2004 United Designs,Gallery 50/1,Umossol,2011 6.Karnickel-Kimstpreis,Waltrop,2009
IG Bildende Kunst,Wien,2005 Kullurforum Kopelle,Wallrop,2011 Pretsfroge 2009"Wer kriegl die Krise?",Berlin,2010
item,Plagiol,Ulm,2006 Rollo,Eckernf6rde,2011 Fashion Design,Zeixs,K61n,2009
FFF,Mohr.Villu Freimann Munchen,2006 'g>r,04,Berlin,2011 7.Karnickel-Kimstpreis,Waltrop,2010
dormART,Dortmund,2006 Shedhalle,GLEI(HZE11,Tubingen,2011 Graphic Design 3,Zeixs,K81n,2010
Kunst-Fehler-Kultur,Wien,2006 MeeU,Hannover,2011 'g>r,04,Berlin,2011
Die starken Heiden,Calorie RUB,Leipzig,2007 1000 C Bend,Melbourne,2011 BUTTERBROT,VERGHUGEN,Berlin,2011
ART-spanner,Dortmund,2007 golerto de arta smart,Bogot6 2011 boldhip magazine,Canada,2014
4.Oschnizer Kunstwoche,2007 design(enter de winkelle ak,Antwerp,2012 71h anted designs,Seoul,2014
Multiple Art,Itzehoe,2007 tunnel vision,WOAH,Los Angeles,2013 casual sexism zine,(ordiH,2014
messmer foundation,Emmandingen,2008 bargehouse,zealous X,London,2013 speaking out,Leicester,2014
item,X-Im,Ulm,2008 Kunstkanal,free.spoce,Wien,2013
Im Nomen der Uppischen Rose,Horn-Bad Memberg,2008 Freudenhous 24,Leipzig,2013 online u.a.
hirnsturm 02,Dusseldorf,2008 3 pillars gallery,Benton Harbor,2013 hop://www.whaurem(hen.de/ortisis.himl
bewegter wind,Waldeck-Frookenberg,2008 playhouse,untitled,Norwich,2013 hop://www.bullerbrot-ort.mm/kunsiler.himl
20.KunslTage Rhein-ErO 2008,Pulheim,2008 is/0 it?,delius am,Bradford,2014 http://www.hirnsturm.org/02/Workindex.him
OSTRALE'08,Dresden,2008 performingnowl,Dundee,2014 hop://www.wovon Imi umen-wir.de/publizierte.php
"Gef Urdichste Romero"quortier2l,Wien,2008 berobim 8 wieners,Vancouver,2014 hnp://www.mmsmerfwndolion.com
Kullurslrick,Deggendorl,2009 erotic art festival,Seattle,2014 hnp://wxw.psyk.nome/darmort/orAellung.himi
Toleranz-Greme,P611m ck,2009 tower gallery,London,2014 http://dentando(d.al/?url=/?id=2165952%26_range=3
Kulturstrick,Dormagen,2009 hnp://www.eikon.at/content/de/fotos.php?id=22
Transversole,Dortmund,2009 Auszeichnung hnp://www.g-z-r.net/gzr_d/Web4onfent/pares/part_03/arlists.himl
KulturTronsistor,Koil,2009 Uslerreichischer Graftkweobewerb,Preis des Landes Tirol,1995 http://www.flatl.ai
Kulturfocom Kopelle,Waltrop,2009 hnp://vimeo.com/22205669
'g>r,03,Leipzig,2009 publikutionern u.a. hnp://www.gularieimgmenen.net
nexicomic,Linz,2010 24.Osterreichischer Grafikweubewerb,Innsbruck,1995
Kulturforum Kapelle,Waltrop,2010 'dreck"Magazin,Linz,1999 url
bewegter wind,Waldeck-Frankenberg,2010 "FreimannFronmoningFuBball",Munchen,2006 hop://klam-pinteznet
Lill vs Neno,Academy of economics,Berlin Marzahn,2010 Kuml-Fehlerlultur,Wien,2006 hup://www.bureau.kiam-pinter.net
Rmkergosw 51/8,1120 Wien,Ausno l M+43699117466361 klaus.pinter@gmx.at OKImm Ame,
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Artist CV: Jesa Simon
www.JesaSimon.com
• Nevada State Inaugural Art Collection, Panel Mural- Henderson, NV 2015
• Las Vegas' Life is Beautiful, City Mural, Las Vegas NV 2015
• City of Jasper Indian Art Commission, City Mural,Jasper IN 2016 (Spring
Completion)
• Mayor's Gallery, Las Vegas NV 2015
• Conrad Chicago Hotel (Hilton), Collection, IL 2015
• Tucson International Airport, Solo Exhibit, AZ 2015
• City of Iowa City Public Art, Mercer Park Mural, IA 2014
• Parkstone Gallery, Permanent Collection, Prestwick Scotland, UK 2014
• Tempe, Arizona, City of Tempe Public Art, Mill Avenue City Installation
2014
• Downtown Phoenix's 2013 Dinning Guide Cover Artist, AZ 2013-2014
• Gilbert Arizona, City Artist/Artist in Residence, Open Seating, City
Installation, AZ 2014
• Downtown Phoenix Partnership, Zombie Artist, AZ 2013
• FirePlace Gallery, Solo Exhibit, OR 2012
• Herberger Festival of the Arts, Gallery-Featured Artist, AZ 2012
• Salem, Massachusetts's City Artist, The Light Box Project, MA 2012
• The Grand Wilmington Gallery- Solo Exhibit, DE 2012
• Arizona Science Center-Artist in Residence-Van Gogh Alive, The
Experience, AZ 2012
• Heroes &Hearts- San Francisco General Hospital Foundation featured
artist-
• Corporate Auction, Public Display, CA 2011-2012
• Youth Orchestras of Fresno, featured artist, The Painted Violin Project,
Public Auction,
• Public Tour- Group Exhibit, CA 2012
• The Burton Barr Central Gallery- Group Exhibit, AZ 2012
• Arte Americas Casa De La Cultura, Museum-Group Exhibit, CA 2012
• Margaret Hudson's Earth Arts Gallery-Group Exhibit, CA 2012
• Saroyan Theatre- Fresno International Youth Orchestras Benefit& Public
Auction, CA 2012
• Artisans Fine Art Gallery- Group Exhibit, CA 2012
• Fresno Arts Council- Group Exhibit, CA 2012
• Chris M. Sorensen Gallery- Group Exhibit, CA 2012
• Lift Every Voice, Arizona Artist Showcase- Civic Space, AZ 2012
Artist Bio: Jesa Simon
This classically trained musician's works are all self-proclaimed labors of love done in
her own distinct style. It's been both her experiences in humanitarian work and her
wanderlust travels that have influenced Jesa's artwork most. After living overseas for
three+years, first in Italy studying art and then Scotland studying business,this free spirit
is now based in the States.
Once just the sweetest of escapes and simplest forms of comfort for Jesa, her passion for
creating art organically evolved into word of mouth commissions to partnering with city
commissions and nonprofits. In 2012 Jesa was honored as one of the eight large heart
artists selected for the San Francisco General Hospital Foundation's Heroes&Hearts.
Since 2012 Jesa has worked on a number of exciting projects. Resume highlights include
the honor of working with the National Charity League,Arizona Science Center,
Downtown Phoenix Partnership,the elegant Conrad Chicago Hotel,and public arts
commissions in cities such as Iowa City(IA), Salem(MA),Tempe (AZ) and
more. Recent additions to her artist CV include a solo exhibit at the Tucson International
Airport,muralist for the famed Life is Beautiful festival and the creation of a two-panel
mural for Nevada State's Inaugural Art Collection. Upcoming projects include a mural
debuting this spring.
An advocate for the arts, Jesa has worked with hospice organizations and non-profits
promoting the arts through workshops and speaking engagements. She has spoken on
issues addressing art over adversity, art as motivational therapy and small business
entrepreneurship.
References:
Andrew Simon, CEO AxsTV Sports- Asimon@axs.tv
Pam McCoy, The National Charity League (CA Chapter)-
PTravelingForlove@gtnail.com
Marcia Bollinger, Iowa City Public Arts—marcia-bollinger@iowa-city.org
Anna Consie, Downtown Phoenix Partnership- aconsie@downtownphx.org
LuAnne Ness, Hospice of the Valley-LuAnneNess@gmail.com
Angela Brommel, Director of Arts & Culture for Nevada State University-
Angela.Brommel@nsc.edu
Artist Portfolio,Jesa Simon
Artwork Samples:
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1. Artist: Jesa Simon
Wallpaper&Wallflowers, 2105
Dimensions: 6ft x 8ft
Medium: Oil & Acrylic
Art Commission: Nevada State University, Two Panel Mural
$6,000
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5. Artist Jesa Simon
Step Up, 2014
Dimensions: 20ft x loft
Medium: Acrylic
Public Art Commission: Iowa City Arts Commission
$3,000
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6. Artist: Jesa Simon
Sing for San Francisco, 2012
Dimensions: 5ft x 5ft
Medium: Acrylic & Fiberglass
Art Commission: San Francisco General Hospital Foundation Hero's &
Hearts
Auctioned/Sold
$60,000
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7. Artist: Jesa Simon
Tendency, 2014
Dimensions: 16ft x l Oft
Medium: Acrylic, fiberglass, Varnish & Oil
Art Commission: Private Collection-NA
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Medium: Oil &Acrylic
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10.Artist: Jesa Simon
Brass Feelings, 2015
Dimensions: 6ft x 8ft
Medium: Acrylic & Oil
Art Commission: Private Collection-NA
View More of my Work:
www.JesaSimon.com