I consider "Hydrolith" to be my masterpiece.  No previous commission has tested my experience and expertise to the degree that this project had. The sheer size and weight of this artwork posed its own set of technical challenges, but the true achievement was the development of the delicate and subtle specifications needed to realize my design goal.



         When designing art in public places I look for ways to promote community ownership of the artwork and activities that will improve its connection with the local community.  In this case, I put forward the idea to hold a community art workshop with neighborhood families, as well as those involved in the public swimming pools activities, to create a ceramic treatment for a large stationary concrete planter in front of the building.  In some of these pictures you can see the workshop in progress.



          My strategy was to provide soft raw clay tiles and a collection of hundreds upon hundreds of small toys, tools and spare parts that the workshop participants could use to alter the shape of the clay tiles.  As you can see the result was a very nice uniform piece that complemented “Hydrolith” as well as other surrounding mural artwork. This gave me an opportunity to talk with local families and kids about "Hydrolith" and the process of its creation. As planned workshop successfully jump-started a sense of ownership of the artwork in the community.



DESIGN



           Like "Sea Dream" and “Solar Tide” completed  2006-2008, my primary objective was to create a piece of artwork that would inspire its viewers to spontaneously come in, jump in the pool and go for a swim. As always, it was important that the artwork could be appreciated close up as well as from a distance.
          I want to draw special attention to the linear design made by the physical joints between the blocks/ tiles and the subtle asymmetry of the two monuments that lend a distinctive organic quality to the piece.



FABRICATION & INSTALLATION



          Like most of my projects “Hydrolith” was completely self fabricated and installed.  A certified conservator was hired to review and approve all of my construction plans.  I personally sculpted both monuments and oversaw the creation of the custom transparent glaze. The sides of the pilasters are finished with stucco and exterior grade the Venetian plaster. 

           Of course, a high fire sculpture body clay was used for durability in the San Francisco bay area's wet and occasionally freezing climate. Weather like this can be destructive to ceramics if not made properly.  As an additional precaution, the composite concrete and ceramic blocks are anchored to the poured concrete substrate with stainless steel pins and epoxy. I expect "Hydrolith" will remain intact even if California recedes into the Pacific ocean.



         The surfaces were tested against typical forms of vandalism. Though the piece has unsecured 24 Hour street access it has not been vandalized in any way since its completion in 2009.