February 2014
Interview with
Stephen Fairfield and Patrick Marcus
Solar Sculptures
Interview with
Stephen Fairfield and Patrick Marcus
Solar Sculptures
Artist Stephen Fairfield worked as a scientist and in human services after earning his PhD in molecular biology and biochemistry. Currently he is a full-time artist focusing on new media and steel public art sculptures. He is based in St. David, Arizona.
Patrick Marcus received a Ph.D. in Biomedical Engineering, with a minor in Neurosciences from the University of Arizona. Currently he is President of Marcus Engineering LLC. (www.marcusengineering.com) based in Tucson, AZ
Fairfield and Marcus began their artistic collaborating ten years ago. They joined forces with industrial designer Emily Taylor to create Solar Sculptures (www.solarsculptures.com/). Theirs is an art-technology integration that produces unique public art which includes lighting and is solar powered.
Patrick Marcus received a Ph.D. in Biomedical Engineering, with a minor in Neurosciences from the University of Arizona. Currently he is President of Marcus Engineering LLC. (www.marcusengineering.com) based in Tucson, AZ
Fairfield and Marcus began their artistic collaborating ten years ago. They joined forces with industrial designer Emily Taylor to create Solar Sculptures (www.solarsculptures.com/). Theirs is an art-technology integration that produces unique public art which includes lighting and is solar powered.
The Fisherman v1
SAN: Would you say that your collaboration involves 1), Stephen comes up with a sculptural concept and design then 2) Patrick engineers the design so that it will light up with solar-powered lights, and 3) Emily draws up the plans and oversees the construction of the work? Is that how the projects work in a nutshell? Or is it more fluid that this?
Stephen Fairfield: It’s definitely more fluid than this. Originally I met Patrick when I had an idea for Luminarias del Pueblo in 2004, and wanted to create a solar powered new media sculpture – one that integrates solar panels and electronics, motion sensors and light emitting diodes – with a steel sculptural form. I somewhat knew the new media visual effects I wanted the piece to emanate, and also knew I didn’t have the technical savvy to engineer it myself. Also, I wanted the sculpture to be interactive, i.e. respond to passersby movements, to engage them and draw them into a closer relationship with the art than just standing looking at it. So, I got in touch with the U of A’s department of Engineering, and drilled down until I made contact with Patrick by email. He and I met in Tucson in 2004 in a small conference room at UMC. For about 30 minutes I drew a bunch of wild marks on a white board, waved my arms around while describing this (to me) esoteric sculpture, and finally took a breath. Patrick paused for about 10 seconds, looked at me and said “that’s easy. I can do that.” That’s pretty much been his response to everything I’ve pitched to him since then!
While we each have our particular expertise area, now we function as an egalitarian collaborative: while Patrick would profess not to be that “artistically” creative, he has come up with some terrific technical concepts and ideas like the use of gesture recognition software, remote capacitive touch, and thermal sensors integrated into our pieces, that we continue to seek funding for, as we all believe our mission is to push interactivity to its limits and beyond. We won’t be satisfied until we have engaged all of peoples’ senses.
Emily came on-board about 3 years ago. She shares responsibility for concept creation, as well as for transforming our concepts into 3D renderings, CAD drawings, and then providing the fabricators with specific technical details during the piece’s fabrication. My role, along with concept creation, is as operations manager to write proposals to raise money, work with fabricators, and finally to oversee the installation.
Stephen Fairfield: It’s definitely more fluid than this. Originally I met Patrick when I had an idea for Luminarias del Pueblo in 2004, and wanted to create a solar powered new media sculpture – one that integrates solar panels and electronics, motion sensors and light emitting diodes – with a steel sculptural form. I somewhat knew the new media visual effects I wanted the piece to emanate, and also knew I didn’t have the technical savvy to engineer it myself. Also, I wanted the sculpture to be interactive, i.e. respond to passersby movements, to engage them and draw them into a closer relationship with the art than just standing looking at it. So, I got in touch with the U of A’s department of Engineering, and drilled down until I made contact with Patrick by email. He and I met in Tucson in 2004 in a small conference room at UMC. For about 30 minutes I drew a bunch of wild marks on a white board, waved my arms around while describing this (to me) esoteric sculpture, and finally took a breath. Patrick paused for about 10 seconds, looked at me and said “that’s easy. I can do that.” That’s pretty much been his response to everything I’ve pitched to him since then!
While we each have our particular expertise area, now we function as an egalitarian collaborative: while Patrick would profess not to be that “artistically” creative, he has come up with some terrific technical concepts and ideas like the use of gesture recognition software, remote capacitive touch, and thermal sensors integrated into our pieces, that we continue to seek funding for, as we all believe our mission is to push interactivity to its limits and beyond. We won’t be satisfied until we have engaged all of peoples’ senses.
Emily came on-board about 3 years ago. She shares responsibility for concept creation, as well as for transforming our concepts into 3D renderings, CAD drawings, and then providing the fabricators with specific technical details during the piece’s fabrication. My role, along with concept creation, is as operations manager to write proposals to raise money, work with fabricators, and finally to oversee the installation.
The Fisherman 2
SAN: Stephen, you were creating public sculptures such as The Fisherman now permanently installed at Chula Vista Bayside Park, Chula Vista, CA. How did you decide to change gears and start incorporating technology and light into your sculptures?
SFairfield: Actually I haven’t really changed gears, just stepped on the accelerator more…To me, from a physics perspective, art is all about the physics of light reflecting off, passing through, or emanating from objects, that is then received by our eyes’ retinas, and processed by our brains into a conscious image. My earlier work focuses on organic forms that reflect light, and we see them as 3 dimensional objects. In my earliest ceramic sculptures I liked to use metallic raku glazes, as the glaze along with the form displays a range of different colors, that to me was more interesting and exciting together than either was separately.
SFairfield: Actually I haven’t really changed gears, just stepped on the accelerator more…To me, from a physics perspective, art is all about the physics of light reflecting off, passing through, or emanating from objects, that is then received by our eyes’ retinas, and processed by our brains into a conscious image. My earlier work focuses on organic forms that reflect light, and we see them as 3 dimensional objects. In my earliest ceramic sculptures I liked to use metallic raku glazes, as the glaze along with the form displays a range of different colors, that to me was more interesting and exciting together than either was separately.
Glory Pipes
Then I progressed to using diffraction gratings and holographic film to cover the sculptures (Tailwalking Suncatcher, Glory Pipes), materials that function as miniscule prisms, separating and diffracting incident light into a rainbow of colors, depending on the relationship of the incident light, and the viewer, in relationship to the sculpture. This provided another type of interactivity – as the viewer moves past the sculpture, areas of it change color relative to the viewer’s position. This effect makes me happy, and from observing passersby, it was clear they like it also.
Looking back, it was a natural progression to want to integrate into the sculpture electronics that would generate color and light, so that it would be beautiful both day and night. While at night in the dark, barely visible public art may be interesting in a dimly lit environment, or cast some interesting shadows when lit by spot lights, I’m more excited by sculpture that emanates spectacular color at night.
Our sculptures have different patterns they display: I love it when they glow, throb, pulse, blink, flash, sparkle, chase, and strobe! With the new media technology we use our LEDs are capable of 16.4 million different color combinations, and this fact, as the myriad of colors are displayed in a range of patterns at different speeds, makes me very happy! Feedback from lots of viewers of all ages is that it makes them happy also!
SAN: Stephen, your statement says that your goal is “sculpture that makes participants from observers and creates dynamic tension and motion “ How did this goal emerge in your art?
SFairfield: Some insight into me: I grew up in southern CT in the 40’s – 60’s, and was consumed by art and music as a youth. When I first had my driver’s license and could drive legally in CT, I would (illegally) drive into NYC on the weekends to go to Greenwich Village and be part of the gallery, music and coffee house scene (check out Thelonious Monk’s bust sculpture – covered with diffraction gratings!). Periodically I’d go to art museums, too. I’m an art museum guard’s /gallery owner’s worst nightmare! When I see a creation that is just begging to be touched, explored, caressed, pushed on, wiggled, etc. I just do it! Yes, I know all about “oils, etc. from peoples’ fingers, etc.”, but in some ways I just can’t help myself, and in other ways I just don’t care…Not very sensitive of me, but my personal belief is that art should be interacted with, so I just do it! I don’t believe in intentionally marking, hurting, or marring someone else’s work, but I do confess to making close-up and personal contact!
Our goal is to fully engage the casual viewer-passersby, and convert them from observers into participants who get fully engaged in the piece’s artistic expression. By so doing we blur the boundaries between the artist, the artistic creation, and the observer, and turn over a large part of the artistic expression of the piece to those people who, like me, just “want to explore what this thing does!”
Also, the changing colors and patterns, in response to peoples’ conscious or unconscious movements, create both a dynamic tension and a sense of motion. At some point, funding permitting, I’d like to add a kinetic element to our creations. Also we are trying to push the envelope with the addition of ultraviolet and phosphorescent materials, lasers, and flame cannons!
Looking back, it was a natural progression to want to integrate into the sculpture electronics that would generate color and light, so that it would be beautiful both day and night. While at night in the dark, barely visible public art may be interesting in a dimly lit environment, or cast some interesting shadows when lit by spot lights, I’m more excited by sculpture that emanates spectacular color at night.
Our sculptures have different patterns they display: I love it when they glow, throb, pulse, blink, flash, sparkle, chase, and strobe! With the new media technology we use our LEDs are capable of 16.4 million different color combinations, and this fact, as the myriad of colors are displayed in a range of patterns at different speeds, makes me very happy! Feedback from lots of viewers of all ages is that it makes them happy also!
SAN: Stephen, your statement says that your goal is “sculpture that makes participants from observers and creates dynamic tension and motion “ How did this goal emerge in your art?
SFairfield: Some insight into me: I grew up in southern CT in the 40’s – 60’s, and was consumed by art and music as a youth. When I first had my driver’s license and could drive legally in CT, I would (illegally) drive into NYC on the weekends to go to Greenwich Village and be part of the gallery, music and coffee house scene (check out Thelonious Monk’s bust sculpture – covered with diffraction gratings!). Periodically I’d go to art museums, too. I’m an art museum guard’s /gallery owner’s worst nightmare! When I see a creation that is just begging to be touched, explored, caressed, pushed on, wiggled, etc. I just do it! Yes, I know all about “oils, etc. from peoples’ fingers, etc.”, but in some ways I just can’t help myself, and in other ways I just don’t care…Not very sensitive of me, but my personal belief is that art should be interacted with, so I just do it! I don’t believe in intentionally marking, hurting, or marring someone else’s work, but I do confess to making close-up and personal contact!
Our goal is to fully engage the casual viewer-passersby, and convert them from observers into participants who get fully engaged in the piece’s artistic expression. By so doing we blur the boundaries between the artist, the artistic creation, and the observer, and turn over a large part of the artistic expression of the piece to those people who, like me, just “want to explore what this thing does!”
Also, the changing colors and patterns, in response to peoples’ conscious or unconscious movements, create both a dynamic tension and a sense of motion. At some point, funding permitting, I’d like to add a kinetic element to our creations. Also we are trying to push the envelope with the addition of ultraviolet and phosphorescent materials, lasers, and flame cannons!
Skyburst at Plaza Colonial v1
SAN: Patrick: Please explain your role in bringing these sculptures to light. From your website, “The sculptures are equipped with microprocessor controlled light emitting diodes and motion detection technology controlled by custom software written by Marcus.” What is the process like for you? Is it difficult to incorporate solar panels into a sculpture? What is the role of motion detection? Movement leads to the lights coming on?
Patrick Marcus: The process is a blast. Listening to Steve spout creative, clever, and occasionally off the wall ideas is a hoot, and humbling at the same time. I very often respond to his ideas with a “We can’t do that” or “It’s too expensive”. Then, after letting the gears turn a bit we’ll often come to a mechanism to implementing the vision in a reliable, cost effective and spectacular way. Steve is great to work with because he is always pushing the envelope and challenging my engineering team to creatively impress the public.
Incorporating solar panels into a sculpture isn’t particularly complicated at first blush. There are many things to consider though. Long term reliability, batteries that will last for years, continuous lighting through dark cold cloudy winter weeks, and clever power management present facets and tradeoffs that take a lot of thought to optimize. At the end of the day though. It really makes the difference from a sculpture with a solar panel stuck on as an afterthought, and a reliable piece of truly green artwork which never fails to “light” and “delight”.
Patrick Marcus: The process is a blast. Listening to Steve spout creative, clever, and occasionally off the wall ideas is a hoot, and humbling at the same time. I very often respond to his ideas with a “We can’t do that” or “It’s too expensive”. Then, after letting the gears turn a bit we’ll often come to a mechanism to implementing the vision in a reliable, cost effective and spectacular way. Steve is great to work with because he is always pushing the envelope and challenging my engineering team to creatively impress the public.
Incorporating solar panels into a sculpture isn’t particularly complicated at first blush. There are many things to consider though. Long term reliability, batteries that will last for years, continuous lighting through dark cold cloudy winter weeks, and clever power management present facets and tradeoffs that take a lot of thought to optimize. At the end of the day though. It really makes the difference from a sculpture with a solar panel stuck on as an afterthought, and a reliable piece of truly green artwork which never fails to “light” and “delight”.
Skyburst at Plaza Colonial v2
The motion detectors can be used in many ways and I’d say there isn’t one particular role that is consistent across all of our pieces. In the most general sense, The motion sensors provide two major functions. 1). The motion sensors give the sculpture an ability to sense when people are around. If there isn’t anyone viewing the piece, it makes sense to keep the sculpture in a still colorful, but low power state. Then, when people are present, All of that extra power can be used to show off. 2). The motion sensors also give a means of interaction. We feel pretty strongly that participant art is much better at providing broad appeal than a static piece. The motion sensors change the dynamics of the sculptures. When you like what you see you can sit still and enjoy. If you want to see something new you can simply dance around and flap your arms until the sculpture switches to a mode you like better.
SAN: Please tell us about the Solar Spirit of Arizona at Tucson International Airport. How did this sculpture come into being?
SFairfield: The Tucson International Airport released a call for artists for the creation of a solar powered piece, that would be completed during 2012 to commemorate Arizona’s Centennial. There were specific requirements for the piece, that it must be solar powered, needed to reflect the regional ethnicity of southern Arizona, should have some historical references, etc. We submitted our qualifications and were finalists (I believe there were 3 or 4 others). We worked our concept up into 3D drawings (Emily), I made a maquette (fancy artist’s word for model), and Patrick and I presented to the TIA panel. There were several technical questions about solar power and technical issues that Patrick fielded, and we won the commission.
(click on images below to enlarge)
SFairfield: The Tucson International Airport released a call for artists for the creation of a solar powered piece, that would be completed during 2012 to commemorate Arizona’s Centennial. There were specific requirements for the piece, that it must be solar powered, needed to reflect the regional ethnicity of southern Arizona, should have some historical references, etc. We submitted our qualifications and were finalists (I believe there were 3 or 4 others). We worked our concept up into 3D drawings (Emily), I made a maquette (fancy artist’s word for model), and Patrick and I presented to the TIA panel. There were several technical questions about solar power and technical issues that Patrick fielded, and we won the commission.
(click on images below to enlarge)
SAN: Did Solar
Spirit of Arizona present any particular challenges when creating and
installing it? What has been the
public’s response to this work?
SFairfield: One huge challenge: I seem to pitch projects that are costly to fabricate, deliver, and install. This was a loss-leader (we suspected it would be going in to the project) but we felt the venue and long term visibility was worth it. We were right. There has been significant public appreciation for the piece, and we’re glad we created it. It works terrifically well, will last essentially forever, and fascinates people who can take a few minutes to pause and appreciate it. We’d do it again.
Patrick Marcus: I think people really like it. People’s eyes usually glaze over when you tell them about designing medical electronics or developing software systems. Even when telling people we “dabble in art” they aren’t convinced, but when we say “Have you seen the sculpture in front of the airport” people do a double take. It’s honestly been fantastic marketing and gives people something to remember Tucson by.
SFairfield: One huge challenge: I seem to pitch projects that are costly to fabricate, deliver, and install. This was a loss-leader (we suspected it would be going in to the project) but we felt the venue and long term visibility was worth it. We were right. There has been significant public appreciation for the piece, and we’re glad we created it. It works terrifically well, will last essentially forever, and fascinates people who can take a few minutes to pause and appreciate it. We’d do it again.
Patrick Marcus: I think people really like it. People’s eyes usually glaze over when you tell them about designing medical electronics or developing software systems. Even when telling people we “dabble in art” they aren’t convinced, but when we say “Have you seen the sculpture in front of the airport” people do a double take. It’s honestly been fantastic marketing and gives people something to remember Tucson by.
SAN: Please tell us about The Revolutions of Brandon Park. Where is Brandon Park, and how did you design and create this work?
SFairfield: Brandon Park is in Lancaster, PA. Emily, my wife and I rendezvoused there for a site visit in June, spent a couple of days observing the park, and came up with an annular concept that was based on circles and half circles represented in building patterns, on the basketball courts, etc. We designed the overlapping “leaves” to provide small spaces for the LED light to be emitted, and areas within the sculpture elements for the electronics to be housed.
SFairfield: Brandon Park is in Lancaster, PA. Emily, my wife and I rendezvoused there for a site visit in June, spent a couple of days observing the park, and came up with an annular concept that was based on circles and half circles represented in building patterns, on the basketball courts, etc. We designed the overlapping “leaves” to provide small spaces for the LED light to be emitted, and areas within the sculpture elements for the electronics to be housed.
SAN: Is it also solar-powered?
SFairfield: Yes, it is what’s called “grid-tied” solar powered. The sculpture is connected directly to the electrical grid, and at a remote rooftop there is a solar panel array that pumps electricity back into the grid to offset the sculpture’s power demands. This way, if there are weeks of gray weather, or tons of snow, the sculpture will continue to operate. Another advantage is there is no need for batteries or their ongoing maintenance.
SAN: What has been the public response to this work?
SFairfield: The public loves the sculpture, and many people have expressed that it is a major contributor to the esthetics of this inner city park. There are several motion sensors embedded in the tops of the sculptural forms, and these sensors trigger the software to change displays when people mass through the detection fields. People of all ages seem to love to experiment and play with the sculptures and their visual, colorful changes.
SAN: You describe your work as “new media.” What does “new media” mean to you?
SFairfield: To us new media means the integration of electronics, lighting effects, sound, etc. as an integral part of the sculpture.
SAN: Patrick, how has your knowledge of human brain-based vision systems affected your work on the solar sculptures? (I’m clueless about this subject, but interested. So it’s the wrong question, give us the right question and answer it.)
PMarcus: Actually it has a lot of impact. All of the lighting and intensity schemes we have used have some basis is neuroscience. It comes as second nature these days but it makes a big difference in the organic nature and quality of the visual effects. For instance, did you know that doubling the light power only increases the perceived intensity by a small percentage? It’s a bit nerdy but our eyes see intensity exponentially. Because of this, we can keep the brightness perceptually high, while reducing the power tremendously. Another trick is that although the light intensity appears to be increasing and decreasing smoothly, The system is actually turning the LEDs all the way on and all the way off for different lengths of time. They switch on and off so fast your eyes can’t see it. It’s a little bit like a movie film. The picture seems to move fluidly but we all know the film is made of individual pictures played back very quick.
SAN: Stephen, regarding this statement, “ his sculptures he seeks to make a statement about the natural environment, the impact of humans on the world, or directions culture has taken or is moving towards.” Many artists these days are attempting to speak to the environmental problems we face as a species due to our unsustainable lifestyles. Do you see yourself in an advocacy role in this area?
SFairfield: I hope so. I try, and we are all committed to creating art that employs sustainable energy, in ways that expose people to the advantages of solar power. We would love to build our artistic reputations to the level where we would be recognized to a level so we could design and create solar farms that are both productive and esthetically appealing. Right now, the existing examples are functional, but to me they are both esthetically uninteresting and unattractive. There are possibilities we try to pitch that could transform solar farms into organically flowing, glittering fantasy areas. Still, the bottom line remains the bottom line, until people get fed up with industrialized blight occupying hundreds of acres of open space, and they push for a change to the visual esthetic associated with solar power.
SFairfield: Yes, it is what’s called “grid-tied” solar powered. The sculpture is connected directly to the electrical grid, and at a remote rooftop there is a solar panel array that pumps electricity back into the grid to offset the sculpture’s power demands. This way, if there are weeks of gray weather, or tons of snow, the sculpture will continue to operate. Another advantage is there is no need for batteries or their ongoing maintenance.
SAN: What has been the public response to this work?
SFairfield: The public loves the sculpture, and many people have expressed that it is a major contributor to the esthetics of this inner city park. There are several motion sensors embedded in the tops of the sculptural forms, and these sensors trigger the software to change displays when people mass through the detection fields. People of all ages seem to love to experiment and play with the sculptures and their visual, colorful changes.
SAN: You describe your work as “new media.” What does “new media” mean to you?
SFairfield: To us new media means the integration of electronics, lighting effects, sound, etc. as an integral part of the sculpture.
SAN: Patrick, how has your knowledge of human brain-based vision systems affected your work on the solar sculptures? (I’m clueless about this subject, but interested. So it’s the wrong question, give us the right question and answer it.)
PMarcus: Actually it has a lot of impact. All of the lighting and intensity schemes we have used have some basis is neuroscience. It comes as second nature these days but it makes a big difference in the organic nature and quality of the visual effects. For instance, did you know that doubling the light power only increases the perceived intensity by a small percentage? It’s a bit nerdy but our eyes see intensity exponentially. Because of this, we can keep the brightness perceptually high, while reducing the power tremendously. Another trick is that although the light intensity appears to be increasing and decreasing smoothly, The system is actually turning the LEDs all the way on and all the way off for different lengths of time. They switch on and off so fast your eyes can’t see it. It’s a little bit like a movie film. The picture seems to move fluidly but we all know the film is made of individual pictures played back very quick.
SAN: Stephen, regarding this statement, “ his sculptures he seeks to make a statement about the natural environment, the impact of humans on the world, or directions culture has taken or is moving towards.” Many artists these days are attempting to speak to the environmental problems we face as a species due to our unsustainable lifestyles. Do you see yourself in an advocacy role in this area?
SFairfield: I hope so. I try, and we are all committed to creating art that employs sustainable energy, in ways that expose people to the advantages of solar power. We would love to build our artistic reputations to the level where we would be recognized to a level so we could design and create solar farms that are both productive and esthetically appealing. Right now, the existing examples are functional, but to me they are both esthetically uninteresting and unattractive. There are possibilities we try to pitch that could transform solar farms into organically flowing, glittering fantasy areas. Still, the bottom line remains the bottom line, until people get fed up with industrialized blight occupying hundreds of acres of open space, and they push for a change to the visual esthetic associated with solar power.
Colorful Cubic Calliope
SAN: What’s up next for Solar Sculptures?
SFairfield: We’re building our company and diversifying our “product line”, and have added two key personnel from ASU who are experts in the field. We’re expanding into another new media area, that of out of doors digital projection, where 3D imagery is synced with music and projected on building walls to enliven downtown business districts, bring people into the central city at night, and contribute to a revitalization of the cities’ central core. We have a proposal called NIGHT VISIONS! we will be pitching to the Tucson community through the Arizona Commission on the Arts on February 3, and if successfully funded we will be able to roll out a prototype system in Tucson in collaboration with Dinnerware ArtSpace. From this we hope to expand the system citywide, and really “light up” Tucson. Stay tuned!
SAN: Anything you want to add that is not covered but that you think is important for people to know about your work?
SFairfield: One thing I haven’t emphasized but is really important has to do with our “participating” audience. Our mission is to bring art to the people, regardless of their age, ethnicity, educational level, etc. Art museums and galleries are terrific, but some people never enter them. In all we do we try to contribute the sense of wonder that art provides to people where they live, work or pass through on a daily basis. We want people to experiment, touch, try to figure out how the art works, what makes it do what it does, and go away refreshed and filled with joy that perhaps they don’t understand the electronics, but it makes them happy nevertheless. In some ways we’re like a pizza company: “we deliver!”
PMarcus: I think if there were one thing I would want to convey is the importance of participating in your community. The reality is, putting forth some effort into public art, mentoring, teaching, and being engaged locally has a huge impact not only on the local environment, but it really has a significant payback for the business. People really like working for companies that see beyond the bottom line and THAT impacts the bottom line. The artwork doesn’t always bring as much money as traditional engineering projects but we’d never give it up! It’s a long term investment.
SAN: Do you guys listen to Monk while your work? I’m a Coltrane gal myself.
SFairfield: I do listen to Monk among other jazz artists, plus I listen to Coltrane too! I’m a fairly indiscriminate music lover, with a special predilection to jazz of all expressions.
PMarcus: [laughing], I’m a bit of a techno guy myself. Some nice rhythmic synthetic base keeps the programming and engineering juices flowing
For more about Solar Sculptures and Stephen Fairfield’s artwork, go to:
http://www.solarsculptures.com/
http://www.ercregistry.com/index.a4d?action=search.profilePage&id=4614
SFairfield: We’re building our company and diversifying our “product line”, and have added two key personnel from ASU who are experts in the field. We’re expanding into another new media area, that of out of doors digital projection, where 3D imagery is synced with music and projected on building walls to enliven downtown business districts, bring people into the central city at night, and contribute to a revitalization of the cities’ central core. We have a proposal called NIGHT VISIONS! we will be pitching to the Tucson community through the Arizona Commission on the Arts on February 3, and if successfully funded we will be able to roll out a prototype system in Tucson in collaboration with Dinnerware ArtSpace. From this we hope to expand the system citywide, and really “light up” Tucson. Stay tuned!
SAN: Anything you want to add that is not covered but that you think is important for people to know about your work?
SFairfield: One thing I haven’t emphasized but is really important has to do with our “participating” audience. Our mission is to bring art to the people, regardless of their age, ethnicity, educational level, etc. Art museums and galleries are terrific, but some people never enter them. In all we do we try to contribute the sense of wonder that art provides to people where they live, work or pass through on a daily basis. We want people to experiment, touch, try to figure out how the art works, what makes it do what it does, and go away refreshed and filled with joy that perhaps they don’t understand the electronics, but it makes them happy nevertheless. In some ways we’re like a pizza company: “we deliver!”
PMarcus: I think if there were one thing I would want to convey is the importance of participating in your community. The reality is, putting forth some effort into public art, mentoring, teaching, and being engaged locally has a huge impact not only on the local environment, but it really has a significant payback for the business. People really like working for companies that see beyond the bottom line and THAT impacts the bottom line. The artwork doesn’t always bring as much money as traditional engineering projects but we’d never give it up! It’s a long term investment.
SAN: Do you guys listen to Monk while your work? I’m a Coltrane gal myself.
SFairfield: I do listen to Monk among other jazz artists, plus I listen to Coltrane too! I’m a fairly indiscriminate music lover, with a special predilection to jazz of all expressions.
PMarcus: [laughing], I’m a bit of a techno guy myself. Some nice rhythmic synthetic base keeps the programming and engineering juices flowing
For more about Solar Sculptures and Stephen Fairfield’s artwork, go to:
http://www.solarsculptures.com/
http://www.ercregistry.com/index.a4d?action=search.profilePage&id=4614
