HomeMy WebLinkAbout2015-646-E Arts - Michael Roy Layne Arts Grant DocuSign Envelope ID: 124C6798-3E02-41 F0-A0B2-48070A27BF55
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Criol ORANGE COUNTY ARTS COMMISSION o a
FALL,2015 GRANT AGREEMENT c
E 1 i,10 I "-I COI U u C
THIS AGREEMENT, entered into this 21st day of December, 2015, by and between Orange
County ("County"), by and through the Orange County Arts Commission ("Arts Commission")
and Michael Roy Layne ("Grant Recipient").
WHEREAS,the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizations -
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth,agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed five hundred dollars ($500) have
been awarded by the Arts Commission to the Grant Recipient for the approved Project.
These funds must be matched at least dollar-for-dollar with cash from the Grant
Recipient's funds not derived from either Orange County appropriations or the North
Carolina Arts Council.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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A. Implementation. The Project implementation shall take place between January 1,
2016 and December 31, 2016. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven. (7) days of receipt thereof.
Consent to project modifications shall not be unreasonably withheld. Ails
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein,the modifications shall be deemed approved.
C. Non—assignment. The grant cannot he assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement,in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding•
taxes or other debts of any nature. 'I`hc grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on January 13, 2017 . The Final Report shall be in the format required by
the North Carolina Arts Council. Failure to submit the Final Report or late
submission of the Final Report, for any reason, shall be grounds for denial and/or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission •
A. Payment. The Arts Commission shall release the grant funds in the amount of
$500 to the Grant Recipient.
6. Publicity
A. Acknowledgement. Credit must be given to the Orange County Arts
Commission using the Arts Commission logo and if State funds are received
to the North Carolina Grassroots Program in brochures, news releases,
programs, and all other printed and online publications. Copies of such printed
materials must accompany the evaluation report. When no printed information is
used, verbal credit shall be given. In addition, all print and promotional material
must include the following credit line(check all that apply):
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i. x County Funds Only. "This program is supported by the Orange County
Arts Commission."
ii. North Carolina Arts Council Funding. "This program is supported by
the Orange County Arts Commission with funds f rom the Grassroots Program
of the North Carolina Arts Council, a state agency. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHillARTS.com
website and display ExploreChapelHillARTS.com publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChapelHillARTS.com publicity materials,
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Ails Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Ails Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below(hereinafter referred to as
"default"), the Ails Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
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(iii) Failure to adhere to the terms of applicable county, state or federal laws,
regulations,or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or require
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the patties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. This Agreement shall be interpreted in accordance with the laws
of the State of North Carolina and the Orange County.
C. Entire Agreement and Signatures. The parties have read this Agreement and agree
to be bound by all of its terms, and further agree that it constitutes the complete
and exclusive statement of the Agreement between the parties unless and until
modified in writing and signed by the parties. This Agreement together with any
amendments or modifications may be executed electronically. All electronic
signatures affixed hereto evidence the intent of the Parties to comply with Article
11A and Article 40 of North Carolina General Statute Chapter 66,
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
For and on behalf of the Grant Recipient
/-Doc Laic ned by:
12/21/2015
-�FC291�E2GFB 8494.: y Layne Date
For and on behalf of Orange County Government
,-Doc uSignedby:
bov.,vtdtr tkowAuostui 12/30/2015
�•01137994B755E477... _ unty Manager Date
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DocuSign Envelope ID: 124C6798-3E02-41 F0-AOB2-48070A27BF55
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I l/ Artist Project Grant Fall
2015-16 Application Form
ORANGE COUNTY ARTS Orange County Arts Commission
COMM ISSION
Promoting the artistic and cultural development of Orange County, North Carolina
1 Artist Information
Applicant Name Michael Roy Layne dba Legacyworks
Mailing Address 442 S. Main St.,Warrenton, NC 27589 Studio: 135 S. Main St.Warrenton, NC 27589
Daytime Phone 919.616.8427 . Fax Number 252,257.0655
Email Address layne @legacyworks.com Web Site Legacyworks.com
DUNS Number 078634526 _
2 Grant Request Summary
Arts Program Grant Request $1,000 Total Cash Match $3,577.50
Summary Statement for Proposed Use of Arts Program Grant Artist fee for creation of a pair of ferro-cement
and fabric seed pod forms IVasilas de Agualluviay as part of a larger rainwater harvesting system and science
and arts oriented{STEAM]outdoor classroom environmental sculpture[Cana Proeec#)of courtyard at St.
Thomas More School in Chapel Hill.
4 Narrative
Write a description,up to three pages,single spaced,that describes the following under separate subheadings:
• Proposed Project—what will you do,where will it be performed or displayed,when will the preparations
and public component take place, list any organizational partners.
• Community Impact—describe the project's public component, how many people will be impacted.
• Artist Experience—include a brief description of your similar arts projects in the past.
5 Application Checklist(in this order; do not staple, bind, or put into individual folders)
1 copy each: (1 sided,8 112"x 11", white paper)and 1 complete electronic copy(in PDF format)
• Application Form, Page One, Including Signature
• Narrative
• Budget Sheet
• Itemized Budget(if necessary)
• Resumes of artist(s)
• Sample programs, press, or other materials from this or similar past programs
• Sample work by artist produced in the last three years:
For example,for visual arts submit a PC-compatible CD or DVD, slides or high quality photographs(5-10
images);for dance or theater arts submit a PC-compatible CD or DVD,or video tape(3-5 minute sample);for
music and spoken word submit a PC-compatible CD or DVD,or audio tape(1-2 selections);for literary arts
submit a manuscript(10-15 pages).
Label all sample work with artists'lorganizations'name,title of work(s),date of work. For visual arts include
sheet with work dimensio , -,la. ndioate top of image.
Mail o '1> lve. 4.! ed original.to the OCAC office, including work samples. Email 1 PDF of completed
a,.•:l ion •:47,0, • ':etountync.gov.
����1f,[:�I 1 11/30/15 Michael Roy Layne
4 irr- re Date Typed or Printed Artist Name
i
DocuSign Envelope ID: 124C6798-3E02-41 F0-A0B2-48070A27BF55
• � w Michael Roy Layne, Ph.D., RLA, ASLA
.\ !!7:4 .. Environmental Sculpture•Landscape Architecture•Community Art
Nit
Mailing Address:442 S.Main Street•Warrenton,NC 27589
Sculpture Studio•Workshop:135 S.Main Street•Warrenton,NC 27589
Phone:919-616-8427•Email:layne @legacyworks.com•Web:Legacyworks.com•Facebook:legacyworks studio
LEGAr+ KS Nature+Culture:Forms and Forces in Environmental Art
November 30,2015
Re: Fall 2015-16 OCAC Artist Project Grant Application
St.Thomas More School—Cana Project•Part 2: Ferro-Cement&Fabric Sculpture(Vasijas de Agualluvia)
Narrative
Proposed Project
The proposed project has three goals:(1)provide an opportunity for the school community to learn about environmental art
and ecological design through interactive participation with the artist in the creation and installation of a public outdoor
sculpture that enlivens the inner courtyard and adds an aesthetic element to a larger space that includes a meditation
labyrinth,a working garden,and a formai outdoor classroom;(2)create an aesthetically engineered artwork that harvests
rooftop rainwater while depicting both a vessel structure and a seed pod form that connects the artwork to the garden
concept(3 pairs of vessel sculptures and 2 underground tanks to hold 3,000 gallons);(3)provide students with a framework
upon which to attach hand-made clay tiles(tesserae)that depict a variety of natural forms and colors and collectively bring
the sculpted seed pod forms to life.
Environmental Sculpture Concept
Creating the first phase of a larger sculptural environment(Transformation+Miracle at Cana)that collects rainwater from
an existing downspout(200 gal.capacity)and employs them to connect art and science. The method for creating the pair of
seed pod-shaped ferro-cement vessels is based on the hands-on Low-tech fabrication employed by indigenous peoples to
create large-scale Thai and African water Jars that collect rainwater for household use. Besides the ferro-cement
sculptured form that encloses the front of the two plastic rainwater vessels,an additional sculptured metal and fabric form
will be fabricated and installed to the rear of this seed pod to complete the overall sculptural design.The funds for this
proposed project will be employed to purchase material and pay the artist to create the l'pair(part 2)aesthetically-
engineered rainwater-harvesting vessel forms(#3)located within the outdoor classroom area(see attached STM Can
Master Plan and Vessels Sketches). (Note:the base structure,plastic catchment vessels,and attachment hardware(part 1)
will already be installed in preparation for the fabrication of the seed-pod form while part 3 will include the creation and
attachment of clay tiles created by the school's art students).
Sculpture Materials
The front ferro-cement seed pod forms-First a canvas bag in the form of the final vessel shape is sewn together and filled
with sawdust and set in place. This canvas shape provides the form for a wire rod and chicken wire to be created.Attached
to a raised footing that holds the plastic vessel,this wire form becomes the armature for applying several coats of mortar
and sculpting the details of the seed-pod forms.Once the form is completed and smoothed,nil(a lime-based sealing
compound)is applied to complete the forms.(Note:this form will be covered with small glazed 2D&3D tile shapes
created by students in the tile-making art classes).
The rear metal and fabric leaf and tendril forms—Created using a lightweight metal framework covered with Sunbrella
outdoor fabric,this leaf form completes the illusion of a pair of seed pods while completely enclosing the pair of water
catchment vessels. Intended to enliven the whole concept and promote a playful environment, 10 metal tendrils ending in
rainbow-emitting crystal prisms extend out into the air.(Note:this metal and fabric form is bolted to the rear of the support
footing structure so that the fabric can be replaced and the internal plastic rainwater harvesting vessels can be maintained.
Community Impact
MICHAEL ROY LAYNE• LEGACYWORKS•St.Thomas More School Cana Project•Harvesting Vessel Part 3 Mosaic Sculpture Form.November 22,20t5 Page 1
DocuSign Envelope ID: 124C6798-3E02-41 F0-A0B2-48070A27BF55
Believing that everyone is an artist,Layne continues is community arts approach to the making of public art by including
the whole St.Thomas More School community in the Cana Project.Through interactive class projects and support of the
installation by student and parent volunteers,this project will bring art-oriented programs into the(STEM)curriculum.The
design for the project was based upon a year-long artist residency in which Layne introduced the students(50 6th graders)
and faculty to environmental art and Iandscape architecture.Through interactive physical and social science exercises,
students developed and conducted a survey that collected the ideas for the use of the courtyard from representatives from
faculty,staff,students,and parents.The analysis of the results informed the development of the whole environmental
sculpture program.
This proposal continues this community-wide interaction with art and science by providing a venue for further classroom
exercises.Further,one hundred and fifty 3'4,4th and 5th graders will create 1,500 small tiles(tesserae)in the tile-masking art
classes to be attached(mosaics)to the sculpted ferro-cement seed pod forms.Members of the whole school community will
be invited to watch,ask questions,and even assist the artist during both school and after school hours while he sculpts the
cement forms during March and April,2016.In addition,one of the staff who is a fabric artist has offered to collaborate
with Layne in the creation of the fabric enclosing leaf forms.Associated with this exercise,the artist will teach a class with
4th graders that will teach pattern making,resulting in the creation of the model for the fabric leaf.
Finally,the principal has suggested that a community-side celebratory event be held to commemorate the completion of the
installation of the vessel pair artworks.St.Thomas More School and parish boosts a congregation of 12,400 including 461
students and 100 faculty and staff.The demographics include 56%Anglo,37%Hispanic and 5%Other.
Artist Experience
Michael Roy Layne is an environmental sculptor,community artist and registered landscape architect who has created the
over 75 large-scale sculptural environments for public and private clients in the US and abroad since his first installation
(Deacon's Dome)at the Boston Center for the Arts in 1980.
Many of his sculptures focused on creating spaces that use fabric as a medium because of its ability to be influenced by
wind movements while transforming sunlight into colorful environments reflective of the fabric color.Over the last five
years,Layne has created environmental sculptures that solve or depict stormwater management problems using stone,
bamboo,and other natural materials(see 1120 Flow). In 2012,he combined the use of fabric as a celebratory statement for
an arts festival with natural materials of stone and bamboo to create an aesthetically engineered sculpture located in Bond
Park,Cary,NC(Sloneleafl-Fairyeircle)to clean runoff water from an adjacent parking lot as it runs to the lake shore.
Continuing his goal of extending his understanding and use of a variety of materials along with his mission of creating
spaces that both rejuvenate and inspire,the Cana Project at St.Thomas More school combines the structural materials of
cement,metal,and ceramics with the more fluid medium of fabric and light to create a pair of sculptural see pod forms that
not only enlivens the inner courtyard of the school but harvests rainwater for use in the working gardens and science-
oriented outdoor classroom.
MICHAEL ROY LAYNE• LEGACYWORKS•5I,Thomas More School Cana Project.Harvesting Vessel Part 3 Mosaic Sculplure Form•November 22,2015 Page 2
DocuSign Envelope ID: 124C6798-3E02-41 F0-AOB2-48070A27BF55
I / # INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
'� •"�
919/968-2011-P.O. Box 1177, 131 West Margaret Lane, Hillsborough, NC 27278—
ewww.artsorange.org
ORANGE COUNTY ARTS 2015-16 Artist Project Application — Page Two
COMMISSION
Financial Information
Please provide a projected budget for your proposed project utilizing the format below.
Project Expenses Cash — Grant Amount + Applicant
Expenses Requested Cash Match
A Personnel
Administrative staff
Artistic staff 2,675.00 1.000.00 1.675.00
Technical/Production staff
B Outside Fees and Services
Artistic contracts
Other contracts:
C Space Rental
D Travel 262.50 262.50
E Marketing _ 150,00 150.00
F Remaining Project Expenses 1,640.00 1,640.00
G Total Cash Expenses 4,727.50 = 1,000.00 + 3.727.50
Project Income Cash Income
A Admissions
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
Foundation support
Other private support 3.727.50
E Government Support
Federal
State/regional(not including this request)
Local(not including this request)
F Applicant Cash
G Grant Amount Requested 1,000.00
in this application
H Total Cash Income , 4.727.50
(must equal Total Cash Expenses,
Item G above)
1 items A-G must equal or exceed the Total Cash Expenses of the project.
DocuSign Envelope ID: 124C6798-3E02-41 F0-A0B2-48070A27BF55
t„ .
"AN Michael Roy Layne, Ph. D., RLA,ASLA
,:, x Environmental Sculptor•Landscape Architect•Community Artist
Mailing
Address;442 South Main Street•Warrenton,Norlh Carolina 27589
Sculpture Studio&Workshop:135-South Main Street•Warrenton,North Carolina 27589
Phone:919-616-8427•Email:IayneOlogacyworks,com •Webstte:Legacyworks.com
LEGA[YWORKS Nature+Culture:Forms and Forces in Environmental Art -Environment•Education•Engagement
Artist Resume(partial Listing)
Education •Doctor of Philosophy in Design,Community and Environmental Design,North Carolina State University,2009
•Master of Landscape Architecture,College of Design,North Carolina State University,1994
•Bachelor of Art,Fine Arts Department,San Jose State College,1970
•Registered Landscape Architect,North Carolina Board of Landscape Architects,License#163
Studio Practice) •Oxbow+Water a Mirror of Self,gallery installation along with one-man show"Nature+-Culture:Forms and
Environmental Forces in Environmental Art(catalogue available),"Cary Art Center,Cary,NC 2014
Sculpture and •Solar Wings+Spiral Dance(in progress),environmental sculpture for proposed new sculpture park for SITE
Community Art program,Central Carolina Community College,Pittsboro,NC 2013-15
Commissions/ •7)-ansformation+Miracle at Cana(iii progress),rainwater harvesting environmental sculpture with educational
Installations component for elementary school students,St.Thomas More School,Chapel Hill,NC 2013-15
•Unwed Arc+Darning Needle,(temporary Greenway sculpture installation),Festival in Motion,
Walnut Creek Wetland Center,Raleigh,NC 2013
•Baby Daisy,(interactive remote controlled sculptural dragon for Spring Daze festival)Cary,NC 2013
•Chrysalis+Drago(n)Doctrine,(build facade installation&child activity)FRANK Gallery,Chapel Hill,NC 2013
•Double Spiral:Erika's Garden(residential stormwater protection&garden landscape),Raleigh,NC 2012
•Springleaf+Fairycircle,(ecological installation and festival icon),Spring Daze,Bond Park,Cary,NC 2012
•Chapel Hill Veteran's memorial design competition(in progress),collaboration with David Swanson Assoc.,
Carrboro,NC and Weinstein Friedlein Architects,Carrboro,NC,2011-2012
•1120 Flow,Aesthetic engineering-stormwater management installation,Sculpture Visions,Chapel Hill Town Hall
entry courtyard,Chapel Hill,NC 2010,Dedication 2011
•Trigon,exhibition of a community icon,Raleigh City Museum,Raleigh,NC,2005
•Dragon's Lair and Arborway,David and Karen lessee Residence,Pittsboro,NC,1998-2005
•The Learning Ground,(environmental sculpture master plait),Vella Wilburn Elementary,Raleigh,NC 1996
•Flight of Fancy,Main Street Gallery Program,Monument Square,Racine,WI,1996
•Three Crescent Preserves,(hillside stormwater retention sculpture),Lotz Residence,Chapel Hill,NC 1995
•Realm of the Senses,(proposed ADA experiential pathways),Raulston-NCSU Arboretum,Raleigh,NC,1993
•Mighty Sax,Spring Art and Jazz Festival,Artsplosure,Inc.,Raleigh,NC,1993
•Performance Gardens,(proposed 5 outdoor performance spaces),NC School for Arts,Winston Salem,NC,1993
•Fish Stories,Beverly Gate,Kingston upon Hull,UK,1992
•Mermaid's Tail,First Night Raleigh,Artsplosure,Inc.,Raleigh,NC,1992
•Nature:Continuity in Compromise,Broadway Arts Gallery,Asheville,NC,1992
•Time Lines,Miami University,Oxford,OH,1991
•Vessel,Tri-State Sculpture Exhibition,Appalachian State University,Boone,NC,1991
•Caged Haven,Boston 1991:Sixth Triennial,Fuller Museum of Art,Brockton,MA,1991
•Trigon,(participatory mobile puppet-collaboration w/R.Montague&G.Ingram),First Night Raleigh,
Artsplosure,Inc.,Raleigh,NC,1990.2002
•Dotted Line,Spring Art and Jazz Festival,Artsplosure,Inc.,Montague Court,Raleigh,NC,1990
•Hornet's Nest,Laura Knotts Gallery,Bradford College,Radford,MA,1990
•The Right Spot,A Look at the New:Four Boston Artists,Helen Day Art Center,Stowe,VT,1990
•C'aracol,Fuller Museum of Art,Brockton,MA,1989
•Neon Piano,First Night Boston,(collaboration wl neon artist W.Strattman),Boston Common,MA,1989
•The Source,Hallmark Bath&Tile Center,Peabody,MA,1989
•Time Tunnel,Boston Children's Museum,Boston Warf,South Boston,MA 1989
•Murex,Within,Massachusetts Invitational,Cyclorama,Boston Center for Arts,MA,1989
•Supercilious Mushroom,Artist's Ball,Boston Center for the Arts,Boston,MA 1988
•Calyx,Averoff Restaurant and Boston College,Cambridge,MA 1988
•Big Foot,Community School Youth Outreach Program,Boston Common,Boston,MA,1988
•The Water's Edge,The Wet Gallery,Boston,MA,1987
•Deadlight,Within,Massachusetts Invitational,Cyclorama,Boston Center for Arts,MA,1987
•Moulin Rouge,Artist's Ball,Boston Center for the Arts,Boston,MA 1987
•Conservatory,City Lights,Inc.,Boston,MA,1987
Michael Roy Layne•Artist Resume•November 2015 Page 1
DocuSign Envelope ID: 124C6798-3E02-41 F0-A0B2-48070A27BF55
•Homage to Poseidon&Aeolus,Mills Gallery,Cyclorama,(performance,installation,exhibition)BCA,1986
•Red Sax,Boston City Hall,(Guinness Book of World Records for larger pair of sox),City of Boston,MA 1986
•The Wave,Carolina South Nightclub,The Boardwalk,Atlantic City,NJ,1986
•Homage to Poseidon,(outdoor installation and performance),Galissas,Syros Island,Greece,1985
•Pulsar,Jordan Marsh Company,Boston,MA,1984
•Future Sails,Tall Ships Celebration,Boston City Hall,City of Boston,MA,1984
•Ornamental Calyx and Sphere,Boston City Hall,City of Boston,MA,1984
•Double Calyx,St.Ann's Church,West Newbury,MA,1984
•Space Snake,First Night Boston,(multi-peopled mobile puppet)Boston,MA,1983
•Ruby Calyx,Jordan Marsh Company,Boston,MA,1893
•Deacon's Dome,(installations&performances)Mills Gallery,Cyclorama,Boston Center for Arts,MA 1981
Academic •Visiting Instructor,Dept of Sociology,Anthropology&Social Work,Whittier College,CA,2003 and 2004
Appointments/ •Visiting Assistant Professor of Landscape Architecture,North Carolina State University,Raleigh,NC,2002
Teaching and •Visiting Assistant Professor of Landscape Architecture,North Carolina State University,Raleigh,NC,2002
Resident Artist •Lecturer of Landscape Architecture,North Carolina State University,Raleigh,NC,1994-2000
•Teaching&Research Assistant,Landscape Architecture,NC State University,Raleigh,NC,1992-1994&2001
•Visiting Sculptor,School of Architecture,University of Humberside,Kingston Upon Hull,UK,1992
•Visiting Sculptor,Department of Art,Miami University,Oxford,OH,1991
•Adjunct Faculty,Creative Arts Program,Bradford College,Bradford,MA,1988-1990
•Artist-in-Residence,Boston Center for the Arts,Boston,MA,1986-1989
•Faculty,Boston Architectural Center,Boston,MA,1983-1984
Community •SITE(Sculpture in the Landscape)environmental sculpture artist-in-residence&campus environmental
Projects, sculpture park program development plan with community participatory design workshop&professional design
Research& charrette,Central Carolina Community College,Pittsboro,NC 2013-2014
Planning •Water Quality Impacts of Alternative Build-out Scenarios for Brunswick County,NC.NC State
University,Water Quality Research Project for NC Dept,of Environment and Natural Resources,2007
•NEA(National Endowment for the Arts Challenge America Fast Tract Grant)Conduct a regional art
and cultural assessment for the Roanoke Valley of Virginia and North Carolina.2002-03.
•Community Development Opportunities Study(URRI),NC Cooperative Extension Service,Halifax,
Warren,and Vance Counties,NC,1999-2001.
•School Yard Design Development Study,Glenwood Elementary School,Chapel Hill,NC,1997
•Community Parks and Downtown Development Revitalization Study,Racine,WI,19%
•Participatory Design Charrette&Master Plan Dcv.Perpich Center for Arts Education,Golden Valley,MN,1995
•Sense Garden:Universal Design Study for the NCSU Arboretum,1992{Previewed[.A Magazine
and Japanese book:Creating People-friendly Parks:From Barrier free to Universal Design,1996)
Publications/ •"Landscape as Art:Environmental Sculpture in Park Planning,"NCASLA Conference,Sunset Beach,NC 2015
Presentations •"Environmental Sculpture:Landscape as Art,"Parks for Life Symposium,Raleigh,NC 2014
•"Art in the Community Design Process:A Case Study."Paper presented with Julieta Sherk at the
Environmental Design Research Association Conference,Boston,MA,2013
•"Intergenerational Communities:Public Spaces that Support Interaction Between Young People and Older
Adults."North Carolina Conference on Aging,Greenville,NC,2008
•Water Quality Impacts of Alternative Build-aid Scenarios for I1rwi,rsvick County,NC,North Carolina State
University College of Design,Co-authored with J.D.Tomlinson,Raleigh,NC.2007,
•'Speaking of Art by Michael Layne,"Monthly column in Warren Record,Warrenton,NC,Oct 2005—Sept 2006
•"lntergenerational Preferences for Public Spaces."Three Decades of Design and Community,Henry
Sanoff,NCSU School of Architecture,College of Design,Raleigh,NC,2003
•"Children's Attachment to Place:Environmental Storytelling through Drawings and Community Art."
(symposium)Environmental Design Research Assoc.33rd Conference,Philadelphia,PA,2002
•'Building the language and process of environmental design in K-l2 curricula"(workshop participant)
Environmental Design Research Assoc.National Conference,Saint Louis,MO,1998
•"Children's participation in designing outdoor play spaces:intergenerational communication through
three dimensional landscape modeling,"International Play Journal,1996&Proceedings of IPAIUSA
National Conference,Birmingham,AL, 1995
•Angles of Paradise,1981 (co-authored with E.Knevsen,poetry and illustrations of urban life in Boston,
independent artist book publication The Edge Press)
Selected Media/ •"Chatham County Arts Council Supports Sustainable Sculpture Series at CCC;'Chatham Arts Blog,
Publication http:/lchathamarts.org/blog/February 28,2014
of Work
•"Veterans Propose Chapel Hill Memorial,"The Chapel Hill News,Chapel Hill,NC April 27,2013
•"inspiration from Dragons,"Chapel Hill News,March 17,2013
•"Visitors will Become Artists,"The Cary N ws,April 25,2012
Michael Roy Layne•Artist Resume•November 2015 Page 2
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•Inspiration from Dragons,"Photos by Mark Schultz,Chapel Hill News,March 17,2013
•"Storytelling:Chrysalis+Drago(n)Doctrine with Michael Layne,"www,frankarts.comlcom,Feb 28,2013
•"Spring into Spring Daze 2012,"Cary Citizen,Cary,NC April 23,2012
•"American Society of Landscape Architects Highlights 479 Green infrastructure Projects,"inhabitat.com,
October 22,2011.
•"Dedicate Sculpture also serves environmental purpose,"The Daily Tat Heel,July,6,201 1
•"Accessible America:Are Landscape Architects Ready for the Challenge?"
Landscape Architecture Magazine,Washington,DC,June 1993
•"Spiel Strasse:Street of Performance,"Visions of the Future:Alternative Development Plans for the
North Carolina School for the Arts,School of Design,NCSU,Raleigh,NC,1993
•'American Stargazer Makes Its City Debut,'Hull Daily Mail,Kingston Upon]dull,UK,Nov.23,1992
•'Whale of a Tale," Carolina Parent,Raleigh,NC,May 1992
•"Man,Nature and the Art of Compromise,"Art Forum.Asheville Citizen-Times,June 1992
•"Trigon,"an interview,Creative Exchange,Raleigh,NC,1991
•"Time Lines,"Oxford Press,Miami University Report,Arts at Miami,and After Five,Oxford,OH,1991
•"Outer-Inspace"&"An Artist's Point of View:Interview with Michael Layne,"The Voice,Boston,MA,1984
•"Critics Tip"&"Arts and Films," st be,Boston,MA,1981,83,84,86,87,90
•"Experiments in Art,"Boston Magazine,Boston,MA,1981
Related •Principal,Legacyworks,Community&Environmental Design Firm,Raleigh&Warrenton,NC,21100-14
Training and •Consultant,Park Planning and Design,Raleigh,NC,1996-99
Experience •Landscape Architect,Mark Robinson&Associates,Landscape Architecture/Planning,
Raleigh,NC 1995-96(Specializing in park design and community recreation master planning)
•Landscape Designer/Contractor,Sculptural Environments,Raleigh,NC,1994-99
•Environmental Sculptor&Community Artist,Boston,MA,1981-90•Raleigh,NC,1990-01
•Principal,industrial Design Firm,Layne,Salvo&Assoc.,Waltham,MA,1979-80
Landscape •lessee Residential Master Plan with rainwater harvesting sculpture,multi-deck system,and grading plan
Architecture for driveway and walks,Carboro,NC,2013-2014
Design •"Waterworks,"Concept Design for rainwater harvesting&stonnwater mgmt.demonstration community center
Projects building for marketing package for development project,Burkhart Branding Group,Cary,NC,2013.
•Martin Residential Landscape Master Plan wl rainwater harvesting system&tlowfum stream,Raleigh,NC 2013
•lessee Residence Master Plan with Children's Play Environment&Stream Development Plan,
Pittsboro,NC,1998-2005
•Pre-School Playground Design&Construction Documentation(design and development of five parks
to meet ADA and CPSC guidelines)Parks and Recreation Department,Durham,NC,1997-99
•Northern Community Park Master Plain and Construction Documentation,Chapel Hill Recreation and Parks
Department,Chapel Hill,NC,1996-1998
•Karcher Residence Master Plait&Landscape Construction with Creek Restoration,Raleigh,NC 1997
•Neuse River Corridor Comprehensive Recreation Master Plait with Anderson Point Park and
Milburnie Park Master Plan Development,Parks,Recreation and Greenways Advisory Board
and Parks and Recreation Department,Raleigh,NC,1996
•The Learning Ground-Schoolyard Master Plan and Design and Development Project,
Vena Wilburn Elementary School,Wake County Schools,Raleigh,NC,1996
•Craven County Park Master Plan and Report,Craven County Recreation and Parks Department,
New Bem,NC,1996
•Children's Playground and Community Public Recreational Areas Master Plan,Chestnut Oaks
Residential Development,Habitat for Humanity of Orange County,Carrboro,NC,1996
•Parks and Recreation Comprehensive Recreation Plan Update,Parks and Recreation Department,
Wake Forest,NC,1996
•Minnesota Center for Arts Education Master Plan,Golden Valley,MN,1995
•Flaherty Park Master Plan,Parks and Recreation Department,Wake Forest,NC,1995
•Lotz Residence Landscape Master Plan wl Planting&Hillside Stormwater Retention,Chapel Hill,NC,1995
Honors •Artist Project Grant—Orange County Arts Council,Fall 2012-2013
•Tau Sigma Delta Honor Society in Architecture and Allied Arts,2002
•Environmental Design Research Assoc,Student Design Competition,Edinburgh,Scotland,2001
•NCSU Landscape Architecture Faculty Honor Award,1994
•Sigma Lambda Alpha National Scholarship Award,1993
•Phi Kappa Phi National Honor Society,1993
•Artist-In-Residence-School of Architecture,University of Humberside,Kingston upon Hull,UK,1992
•Winner,William&Dorothy Yeek National Outdoor Sculpture Competition,Miami,OH,1991
•Artist-in-Residence-Department of Creative Arts,Bradford College,Bradford,MA,1990
•Artist-In-Residence-Boston Center for the Ants,Boston,MA, 1986-1989
•First Night Grants,Boston,MA,1983,1984,1988&1989
•Massachusetts Arts Lottery Grant,Cambridge Arts Council,Cambridge,MA,1983
Michael Roy Layne•Artist Resume•November 2015 Page 3
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1 Michael Roy Layne, Ph.D., RLA,ASLA
ti � `), Environmental Sculptor•Landscape Architect•Community Artist
Mailing Address:442 S.Main Street•Warrenton,NC 27589
Sculpture studio•Workshop:135-S.Main Street•Warrenton,NC 27589
Phone:919-616-8427•Email:(ayne@legacyworks.com•Web:Legacyworks.com•Facebook:legacyworks studio
LEGACYWORKS Nature+Culture:Forms and Forces In Environmental An
Re: Fall 2015-16 OCAC Artist Project Grant Application
Artwork Sample Descriptions
1,Pulsar
Site-specific public art environmental installation—Jordan Marsh Downtown Boston
•Completion Date:March 1984
•Media:PVC pipe,rope,knit fabric,with 100 internal lights connected to a playable keyboard switching system
•Location:Jordan Marsh Company,Boston,MA
•Dimensions:20 ft(1-I)x 20 ft(W)x 350 ft(L)
Commissioned by Jordan Marsh Company to rest atop the downtown headquarters' building marquee, this brightly
illuminated sculpture acted as a beacon inviting shoppers to view the store's new Spring Fashion Collection.
Constructed of knit fabric supported by rings of tubing,this piece consists of five units ranging from 50 ft to 75 ft in
length,and from 12 ft to 20 ft in diameter. The internal lighting system,consisting of a hundred individual lamps,each
was connected to a single key of a massive keyboard and"played"to sounds of music,pulsating up and down the entire
length of the store's marquee. A take-off of this idea could be used to create an exciting interactive work in one of the
businesses downtown Chapel Hill,
2.Aeolus
Site-specific environmental public art installation—Mills Gallery,Boston Center for the Arts
•Completion Date:Summer 1986
•Media:PVC pipe,cable,knit fabric,wood,fan,and internal lighting system
•Location:Mills Gallery,Boston Center for the Arts Plaza,Boston,MA
•Dimensions: 12 ft(H)x 9 ft(W)x 25 ft(L)
This specific artwork was installed in completion of a promise made during an art installation on the Island of Syros,
Greece in which the winds were abated. In conjunction with the gallery exhibition of Layne's drawings'and paintings
and a simultaneous indoor installation and performance piece titled Homage to Poseidon,this archway installation met
the stringent demands required of affixing an artwork to an historic building. Making the installation their-own,local
high school students used this arching environment as a meeting place and individually protected the artwork from
street vandalism.
3.Dotted Line
Site-specific environmental public art installation--An Artsplosure event
•Completion Date:Spring 1990
•Media:PVC pipe,rope,knit fabric,metal stakes,concrete footings,and internal lighting system
•Location:Moore Square,Raleigh,NC•Artsplosure Spring Art and Jazz Festival
•Dimensions:Fountain section:25 ft(H)x 37 ft(W)x 31.5 ft(L),Tree section:20 ft(H)x 27 ft(W)x 36 ft(L)
Each suspended from a single nylon rope attached at one end to a railing of an second story walkway structure or a tree
limb across the street and the other end attached to the ground, sixteen individual internally illuminated fabric discs
danced in the wind to the surrounding music and the nearby splashing of the fountain. Festival attendees could activate
the pods by playing the rope chords and watching the interaction of one disc upon another.
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4 & 5.Flight of Fancy
Site-specific environmental landscape installation--A Main Gallery Sculpture Installation
•Completion Date:Summer 1996
•Media: Wood,steel,plaster,cloth,Styrofoam,stone,gravel,sand,earth,water,plantings,plastic,cotton cord,cement
and tapes,hardware,paint and sealants,and illumination,sound,and special water effects systems
•Location:Monument Square,Racine,W3•Racine Parks,Recreation and Cultural Services Department
•Dimensions: 13 ft(H)x 17 ft(W)x 78 ft(L,)
As part of the Racine Parks and Recreation "Main Gallery" apprenticeship program, at-risk teens from area schools
were selected to take part in a summer work program where they were paid to develop work habits while working with
area artists in painting,sculpture,photography,furniture design,and dance. Invited to Racine to teach sculpture as part
of this summer program, Layne worked with the community through interviews, archival research and a community
design workshop to spotlight locations for public artworks and to select the types of sculpture which would reflect the
socio-cultural heritage of the community. The results of this user-needs research culminated in the design and
installation of a large public artwork which could he used as a model for future public artworks while transforming and
revitalizing an existing underutilized downtown park into an active public center.
Artist concept drawings were used to encourage public involvement and to promote community support for the project.
Along with site analysis and including the goals realized through the community design workshop, the final design
reflects a desire to integrate environmental education issues into the sculpture. As part of the six week work project,the
apprentices were divided into four teams to facilitate the creation of this interactive public environmental sculpture.
Each team was responsible for final design,fabrication,and installation of one of the project segments:(1)earth,stone,
brick and planting,(2)wooden structure,(3)metal structure,and(3)electrical and plumbing systems).Collectively the
class produced and installed suspended wing forms and together with the other materials, transformed an old concrete
pool into a representation of the history of Racine and its connection to the Lakeshore environment. The resulting
landscape installation was illuminated for nighttime enjoyment and transformed the park into a place where young and
old could congregate,
This architectural landscape reflects Layne's desire to involve the public in the design process and to engage young
people in the revitalization of their communities while providing them with work experience and a sense of community
ownership. His continued research into the development of community environmental education programs and
university courses is reflected in this project. A number of talks,papers, and workshops relating to this project have
been presented at professional conferences(copy of paper available upon request). His responsibilities for this project
included course outline, project description development, community participation programming, promotional
rendering,detail construction drawing,and installation management.
The image shows a nighttime view of the large-scale sculptural installation of Flight of Fancy at its location in
Monument Square. Whether by day or night, a visitor walking over the arched wooden bridge must move from one
outdoor room to another and pass through the circular openings created in the semi-transparent partitions. His
movement coincides and interconnects with five pairs of wings representing the flight pattern of a bird taking off from
the shore and soaring out over the water. As each environmental room reflects the different physical characteristics of
the lakeshore environment, the participant's progress along the path triggers a hidden light-activated sound-generator
that plays the sounds of that particular shoreline setting. The recordings were also made by the young artists.
6.1120 Flow
Site-specific public art installation—Sculpture Visions
•Completion Date:June 2011
•Media:Bamboo calms,metal rod/rebar/wire,soil/mulch,and plantings
•Location:Chapel Hill Town Hall natural entry court,Chapel Hill,NC
•Dimensions:4 ft(H)X 30 ft(W)X 50 ft(L)
Supporting an increased awareness of the importance of understanding how man's actions effect the land and how
interactions between people can influence the use of natural and cultural resources,Dr. Layne created this sculptural
work of art in order to promote a greater perception of the relationships that exist between natural, cultural, and
experiential systems. Defined as aesthetic engineering,the three main objectives were to: (1) create an aesthetically
pleasing site-specific environmental artwork that follows and spotlights the natural existing topography,depicting the
water collecting and water dispersing forms;(2)employ art to solve a man-made ecologically degrading environmental
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problem by slowing down and dispersing single point and overland water flows during peak stormwater concentrations;
and(3)provide opportunities for community participation in creating public works of art and in educating the public to
the value of artwork in our lives.
One hundred feet in length and employing over 2,400 individual pieces of bamboo from 3" to 11 feet in length and
from 1 '/" to 3" in diameter,the main visual element is a wave of vertical to semi-vertical bamboo posts that flows
along and matches the contours of the two drainage watercourses and separating promontory embankment. Mirroring
and spotlighting the curvilinear flow within the landscape and the obvious verticality of the multiple tree trunks,the
undulating screen consists of bamboo poles harvested from the artist's Warrenton,NC property. Horticulture design
students from North Carolina State University assisted with installation while learning practical applications of grading,
drainage and stormwater management survey,analysis and construction techniques. Layne worked with the Chapel Hill
Town Storm Water Management,Landscape Design,Urban Forestry,and Sustainability staff to make sure the concept
was viable and to ensure the construction materials and methods met all Town regulations and standards.
7&8.Stoneleaf+Fairycircle
Site-specific public art installation—Spring Daze Arts Festival
•Completion Date:April 2012
•Media:Bamboo culms,steel rod,galvanized wire,paint,urethane,stretch knit fabric,PVC pipe,river rock,sand,
mulch,and cultivar or rescued native plants
•Location:Fred G.Bond Metro Park,Cary,NC
•Dimensions: 11 ft(H)x 36 ft(W)x 94 ft(L)(Stone/bamboo form:4'x 36'x 94'—7 Fabric Mushroom forms:
between 11'and 5 1'diameter and height)
Installed between March 15 and April 28,this environmental sculpture was a collaborative effort between the Town of
Cary Parks, Recreation and Cultural Resources staff, community volunteers, and Dr. Layne. Combining aesthetic
engineering and community icons,this sculptural installation spotlighted the important connection that exists between
natural and cultural systems by manipulating the river stones of an existing drainage area. By installing a curvilinear
bamboo form to create the central vein of this stone leaf pattern and incorporating stone veins and counter-clockwise
cosmic spirals, the sculptured landscape improved stormwater runoff surge conditions from the adjacent parking lots.
Conceptually,the stone leaf form with broken edges signifies the changing forces of nature as the leaf decomposes and
becomes part of the soil which nourishes the growth of new leaves,and the cycle continues. Over 140 volunteers from
local high schools,a veteran's organization,youth from the chamber of commerce and Spruce,and the public spent 328
man,woman and children hours working on the project,completing the installation of the final stone spirals during the
Spring Daze arts festival(see festival attendees finishing the creation of stone spirals during Spring Daze).
In addition, Layne created seven integrated large-scale (7 to 11 feet high) bright-colored fabric mushroom forms
arranged in the main spiral disc form to create a fairy circle. There are actually 60 different mushrooms that can grow
from the underground fungus or spores of a fairy ring or circle, the most common is the edible Scotch Bonnet
(Marasniius°rendes). Based upon European and especially Celtic folklore,a fairy ring of mushrooms was thought to
be a gateway into the elfin kingdom,a place where pixies and fairies gathered and danced,and thus the mushrooms
became a symbolic representation of the Spring Daze celebration.The image depicts the seven fabric mushroom forms
located at both ends of the stone leaf and fairy circle forms.
9.Chrysalis+Drago(n)Doctrine
Site-specific public art installation—Spring Daze Arts Festival
•Completion Date:March-May 2013
•Media:Bamboo culms,steel forms,galvanized wire,paint,stretch knit fabric,PVC pipe,internal illumination system
•Location:FRANK Gallery Facade,East Franklin Street,Chapel Hill,NC
•Dimensions:5 ft(H)x 3 ft(W)x 60 ft(L)
Created and installed on the full width of the second story facade above the Frank Gallery and the Clothing Warehouse
on East Franklin Street,Chrysalis+Drago(n)Doctrine enlivened the area from March 9,2012 to May 26,2012.
In keeping with my efforts to address ecological issues, the artwork consisted of ten ring forms made of bamboo
harvested from the artist's grove in Warrenton,NC that were attached to the existing metal grates located at the base of
each upper floor window. Each ring is created using 19 pieces of 1 inch diameter bamboo culms held together with
hardware aesthetically masked using fabric ties reminiscent of Japanese art packaging. Mounted perpendicular to the
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façade and ranging from 5ft to 2 ft high and extending up to 3 ft out from the wall,the ten rings supported the 60+foot-
long fabric dragon form. Created using Carolina blue and white stretch-knit fabric,the dragon chrysalis was suspended
between the ten rings and illuminated from within.
Both the FRANK gallery and Kidzu children's Museum supported the installation by posting the scheduled Salon on
their websites. The fact that the work was up on the exterior of the building on Franklin Street obviously attracted the
attention of the community. The N&O,Chapel Hill edition also printed several installation photographs and the final
completed photo on its front page. Since the work was well received,its intended installation period was extended from
one month to almost three months.
10.Oxbow+Water as a Mirror of Self
Site-specific public art installation—Cary Art Center
•Completion Date:June/July 2014
•Media:Bamboo,brick,stone and sand,PVC pipe,knit fabric,ceramic vessels,wooden structure,paint,
and internal lighting system
•Location:Cary Art Center,Cary,NC
•Dimensions:5 ft(H)x 11 ft(W)x 29 ft(L)
"Art can build awareness, the first critical step in changing our collective story from one that exploits and destroys
nature for the benefit of humankind,to one that coexists with the natural world,nurturing and valuing it,and all of its
life-giving properties(R.J.Rosenberg,Art in Action:mature,creativity and our collective future,2007)."
Modern Western artists,and more specifically environmental sculptors,living in a period of relative economic comfort
and socio-political"truth,"often are the first to spotlight and bring to the forefront not only social ills but more recently,
ecological themes through their artworks. But whether overly activist or not,environmental sculptors can teach us
about the vast and rich web of life through works of art that celebrate, reflect, interact, or protect our natural and
associated cultural resources by providing the impetus for action. Within our lifetimes, clean drinkable water will
become the new gold standard,replacing oil and gas as our most precious resource. As a global society,we continue to
degrade this most essential of natural resources through hydraulic fracturing(fracking),depletion of deep aquifer levels,
overflows of hog waste logoons,coal ash storage ponds,nuclear power plant cooling waters,salt water migration,large-
scale deforestation, and large scale residential and business development that takes away rainwater infiltration
opportunities,etc.,etc.
As the earth heats up,populations continue to increase,and the pollution of our natural resources continues to go on
unabated,quality water will become scarce. Those communities that have or control water usage will become the new
world centers and global powers. We have already become weaned away from drinking water from our household taps
and purchase our drinking water in bottles. Even the storage bottles are made of plastic,whose manufacture results in
byproducts that have been stored in dumps and landfills that allow the chemicals (pcbs) to pollute the underground
sources of our drinking water.But rather than depicting a gloom and doom scenario,through his artworks,Michael Roy
Layne suggests ways in which people can correct (aesthetic engineering) ecological problems. Oxbow + Water as
Mirror of Self spotlights the importance of preserving clean, pure water through a greater understanding of how
topography influences rainwater flows and the effect simple human actions can have in protecting this vital natural
resource. The quality of our water is a reflection of the value we hold for ourselves for future generations.
The white fabric form depicts a landform uphill from a meandering stream with ridges (water dispersing)and swales
(water collection). Illuminated from below, the darker lines where the fabric pieces are sewn together depict the
movement of water droplets during a rainstorm event.An understanding of these water collecting and water dispersing
landforms can help when deciding upon how best to slow down water and allow it to infiltrate rather than create storm
water surges, which can pollute the water resource through erosion.The vertical stand of bamboo culms depict the
growth patterns of along a stream corridor where the thickest and highest plants find a home during dry periods where
the water is concentrated at the water collection points(swales). Again,planting trees,shrubs or groundcover along the
uphill side of a stream can also slow down water(reducing pollution causing erosion)while helping to clean the runoff
before it hits of the stream.The curvilinear form of bricks which hold the bamboo culms can not only be a man-made
bank-holding mechanism,but the bricks can be made using coal ash,which reduces the amount of ash that may flow
into adjacent streams.The stone spiral patterns depict the importance of structural elements within a stream(stone)to
not only slow down the water flow but to create opportunities for aerating the steam, a valuable attribute to healthy
water. The spiral forms also represent the spiritual nature of water as one of the five Platonic elements and water's
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place in our own connection to the universe.The 20 black ceramic vessels hold the water and are sized in relationship to
the amount of water that would be collected along the stream corridor(water dispersing at ridges with smaller diameter
vessels and water collection at swales with larger diameter vessels). The dark glazes used in creating the flat ceramic
forms was selected so that the reflective quality of water could be employed to help visitors connect personally with
both the water and the natural/cultural systems this exhibition represents. Ceramic vessels created by Al McCanless.
MICHAEL HOY LATHE•LEGACYWORKS•2015-36 Fes ArtIsl Protect Grant Applfcatfon•Artwork Sample 1.Is1 •November 34,2015 Page 5
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