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I am so proud of my husband. With all the pain from his illness, he just keeps going on and pushing himself in to wonder.
Ariel Vergez, one of 7 awarded a grant for the City of Cleveland Transformative Arts Fund for his multi-pronged public art project “The Art Garden”, invited me to collaborate on the “Plant Monumental Sculptures” part of the grant. I’m excited to be a part of his beautiful vision. Scheduled to be completed in September, my MODEL CITIZEN will occupy a vacant lot on Storer Avenue on the West side of Cleveland. Fabricated in aluminum and painted with the vibrant Valspar color “Tangy”, it sits on a concrete plinth that doubles as a bench. Cleveland Metroparks will be transforming the lot into a micro-park. MODEL CITIZEN will be in dialog with two other sculptures, Ariel Vergez’s Spina Florae on an adjacent lot, and GeoBird by Arlin Graff on a lot across the street. About THE ART GARDEN: The Art Garden (TAG) is a transformative initiative spearheaded by the Black Brain Group, aiming to rejuvenate and empower the West Cleveland communities through a creative synergy of public art, mentor-ship, and cultural revival. Guided by an overarching vision of artistic expression and collaboration, TAG is designed to intertwine community engagement with innovative art installations including a vibrant series of murals co-created with community input and sculptural installations reinvigorating vacant lots. TAG fosters the growth of emerging artists by providing mentor-ship, skill-building workshops, and real-world experience. This ensures the development of local talent while embedding a sense of ownership and pride in the community. More about TAG on the Black Brain Group website: https://www.blackbraingroup.com/home-1
Andrew Reach is my husband of 44 years. He never seems to stop pushing himself to keep going on . Even with all his pain, his mind will not rest or his desire to create art and architecture. He lost his career of architecture to illness. He began doing art for healing his soul. It took almost 20 years and his architecture and his art have merged to do public art. Here is his new work. It will be built somewhere in the world. Its only a matter of time and what is next for him in his quest towards his art to be in places for people to feel the wonder of art and architecture.
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Why did I name this structure with the word Empyreal? The word evokes something celestial and inspiring awe. What is more awe inspiring than the concept of time? Time is a concept. It looms over everything, yet it has no shape, no structure, no physicality. There are no atoms in time. I think about time a lot. I have downtime when I can’t work. This is a conundrum because time also has no direction, no up, no down, yet humans refer to periods of rest or relaxation or pause in one’s life as downtime. Ok. Where am I going with all of this? During this ‘downtime’, my mind wanders. This is when most of my ideas come to me. During one of these meanderings, I thought about making a structure that spoke to time, not a precise timekeeping device like a clock but something that occupied an isolated realm of contemplation for meditation on its intangible nature. But it would track time, just in a more abstract way.
I remembered learning at Pratt about the Japanese art of wood joinery called Kigumi. It has ancient origins dating back 4,000 years. I haven’t thought about it for many years, but I wasn’t able to sleep, pain was keeping me up, my mind wandered, and it came to me that this would be the solution to build this structure. Its ancient origins emphasize the relativity of human existence. We say 4,000 years is ancient but to time, it is a meaningless number. Predating the iron age, Kigumi is the art of connecting wood with interlocking joints without the use of nails or adhesive. Wood joinery is done with hand tools. This is how Shinto Temples are built. But here, I’m combining the traditional with modern technology; with mass-timber wood members whose wood comes from sustainable forestry and all the cut-outs done with a computer-controlled router which would enable pinpoint accuracy for everything to align properly. The tower has 1,938 horizontal members, 952 vertical members and 4,832 dowels with a height of 82 feet high to the top of the wood and 105 feet to the top of the spire.
The tower is surrounded by a 10-foot-high mound topped by a circular promenade, that like time, has no beginning, no end. To ancient humans, the mound has housed the sacred. Here, a mound houses the tower in its own realm. One enters this realm through a corridor cut through the mound whose splayed walls are a result of them being radially projected from the towers origin point. As you enter this corridor, space compresses and greets you with a portal upon which passing through, space is released. Ramps (handicap accessible) connect the lower plaza to the upper promenade. Moving around this circular ring enables the tower to be viewed in the round.
The morphology of Empyreal Tower emphasizes tectonics, using wood members in a way that allows the structure to be visible and understood. With a grid off wood, a cubic module of four vertical and four horizontal members stack in an arrangement giving its eight inverted rhombus shaped sections. It’s not unlike building with Legos, except the blocks are hollow instead of solid. Horizontal voids in the tower’s forest of wood house an upper and lower glass disk. Embedded in each glass disc is a white arm illuminated with Polymer-Dispersed Liquid Crystals (PDLC) technology. The arm on the lower disk makes one 360-degree revolution per day. The arm on the upper disk makes one 360-degree revolution per year. The movement on the arm of the upper disk is so slow it is imperceptible to the human eye. But with patience, one taking the time to watch the arm in the lower disk which rotates 15 degrees per hour (360 degrees divided by 24 hours per day), this movement is perceptible. A spire rises from the solid cube that supports the upper glass disk, connecting time to the celestial.
The center of the structure has a monumental opening. Open on its four sides, it’s like a giant mouth. Time is like that, like a mouth. It swallows everything in its path. It’s all powerful.
Tangents: Abstract and geometric Art in Northeast Ohio continues on in this tradition by gathering together a collection of diverse and prolific NEO artists who are choosing to work in a nonrepresentational way. While their various works include forays into: Color, optical interplay, mathematics, space, surface, texture, process, and the built environment, all explore their individual pursuits in geometry and abstraction.
Curator Jennifer Omaitz writes,” The idea for this exhibition grew out of a call to action. In the wake of the COVID 19 Pandemic most regional artworks appeared to explore literal pictorial space in painting and sculpture. Questions circulated about who in the area is making design dominant, non-representational work? Why is making abstract work still important? And how can the process of being an abstract artist lead to greater manifestations of perception? This exhibition aims to excite a deeper interest in geometric art and abstraction in the area and inspire more artists to open up their studio practice… The process of making abstract art occupies a rare space. It combines ways of thinking and making that interact with the temporal; sometimes abstraction is minimal and simplified, sometimes optical, and sometimes part of a collaged or combined language. It slows down or abandons the use of literal shapes and forms, often including ad hoc arrangement and disparate elements to engage the viewer in a space where philosophical questions prevail. The work has the power to share the pictorial space of color and surface with sensuality, metaphor, and resonance.”
Andrew writes about his work in the exhibition “I have two artworks in the exhibition; QUADRABAR I and PYRALUX IV. These pieces represent a new direction in my work, connecting my roots as an architect with my digital media practice by utilizing 3d modeling to create geometric abstraction. I call this process 3D Derivatives. The idea of an artist being derivative often has a negative connotation, as being imitative of another artist. But I’m using this word in a different context; that of something that is derived from a source, in this case the source being a 3d model. A 3d model can be viewed in many ways, orthographically and in perspective, from the top, bottom and sides, from different angles, rotated… etc. and a 3D model can be rendered with realistic shadows. These characteristics draw me into this process enabling me to expand on my geometric abstraction in ways not possible in 2D. Using the program Blender, I first create a 3d model, add color and study different camera views and lighting to cast shadows that emphasize the forms. I then export renderings to be printed on rigid substrates and cut them out on a router allowing the geometry to reveal its edges.”
QUADRABAR I, 2023 uv inkjet on acrylic/composite aluminum cut out on cnc router dimensions variable – 47.5″h x 45.5″w overall, edition of 3
Andrew writes, “QUADRABAR I is a visualization in perspective looking directly overhead of a structure of a grid of cubes intersected by bars. They shift up in down, undulating in a wave like formation assembling an implied geographic terrain. Infused with 14 colors plus black and white, it comes alive as an optical tapestry in a symphony of color.”
PYRALUX IV, 2023 uv inkjet on acrylic/composite aluminum cut out on cnc router dimensions variable – 47.5″ x 47.5″ overall, edition of 3
Andrew writes, “PYRALUX IV is a visualization in perspective looking directly overhead of a structure of 2 back to back square pyramids of stepped blocks color coded with primary colors plus white forming the platonic solid, the Octahedron. The stepped blocks along the edges of the octahedron are recessed, splitting the octahedron into 8 parts of which only 4 parts are visible in this view. The Octahedron’s vertices are color coded in black. A series of smaller blocks nest on the larger blocks increasing in size as they cascade down from the pinnacles.”
Andrew Reach was awarded the Ohio Arts Council’s Artists With Disabilities Access Program (ADAP) Grant for fiscal year 2024.
My husband, Andrew Reach and his wonderful playful artwork HEX LAND II, has been purchased by Colliers International for their new Cleveland office.
Colliers (NASDAQ, TSX: CIGI) is a leading diversified professional services and investment management company. With operations in 66 countries, our 18,000 enterprising professionals work collaboratively to provide expert real estate and investment advice to clients.
The firm provides services to commercial real estate users, owners, investors and developers; they include consulting, corporate facilities, investment services, landlord and tenant representation, project management, urban planning, property and asset management, and valuation and advisory services.
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