|
Sculpture by Gerola (continued)
"Siting a piece is especially important," Don explains. "Each piece wants to occupy a site in its own way, to sing its own song, turned to compliment scene, face sun, settle into weather of its micro-climate. Sacred spots are ideal, a combination of prominence, sun, surf, suitable wind strength." Different rotors present different operating requirements, designed for light breezes, or mountain updrafts, or steady shoreline winds. Pieces need to stand out from a distance, draw you in to impress you with their intimidating presence up close. They belong in national parks, or to have parks built around them, destinations in themselves. None takes anything from nature; they do not exploit, but respond merrily to the right environment, a timely message humans might take away from viewing them.
Although collectors and curators would like to divvy up Gerola's catalog, the hope is that some foundation might acquire a major portion and tour it around college and corporate campuses here and abroad. "They need to be where students can see them and be inspired." The 85 or so pieces not yet in private collections are spread on loan from Maryland to Maine, but the nicest kinetics are all together for the time being although not being viewed. Cost of moving a multi-ton steel sculpture as tall as a house isn't pocket change. It takes a crane, a few thousand bucks, and years of skill. Unless special care is taken, work could be damaged or a rigger crushed or killed. Slings hold sections erect while Gerola climbs and bolts sections together. Once his sculptures are sited, though, they are again extremely stable. This seems ironic, since many of them are kinetic, and move by themselves.
These loans represent a central conflict in Gerola's story. He envisioned keeping his collection intact as a single giant menagerie. Yet distributing them where they can best be appreciated enhances their value and gets them seen. Several still reside at Sussex County Community College in Newton, New Jersey, Don's old stomping grounds. "It's not about the money... I'm not actively seeking commissions." However, he is a finalist in a local competition, and has built dozens of working scale models in hopes of securing a small one.
Despite this dream, he can't go on forever without funding. He sells paintings based on similar principles, constructed of applique, paint, sand and seed on stable board, and original steel objects in the 4 to 6 foot range, as if souvenirs of the real sculptures. After a successful career building a renowned sculpture park and supplying influential landscape architects, he has nothing left but a head full of unrealized designs to add to his vast collection of existing pieces. He'd do well to find a corporate sponsor or foundation, who could acquire a major piece or two, or commission something new, so he can afford his vision to send pieces on a whirlwind world tour, a new meaning for kinetics. After all, steel vehicles move, Rolling Stones have been on tour forever. Why not sculpture?
© 2008, Alan Barta, Barta Consulting
< previous page CONTACT
|
