Monday, August 3, 2015

Eight Tons Of Art In Search Of A Home

Twelfth and Callowhill is Post-Industrial Central. Warehouses, idle factories and storage facilities mingle with renovated lofts and a few art spaces. Sometimes it's hard to tell the art from the industrial cast-offs, and a recent walk around the neighborhood found passersby doing a double-take upon approaching a large translucent cube with flotsam and jetsam suspended inside.

Eight Tons Of Art In Search Of A Home


Twelfth and Callowhill is Post-Industrial Central. Warehouses, idle factories and storage facilities mingle with renovated lofts and a few art spaces. Sometimes it's hard to tell the art from the industrial cast-offs, and a recent walk around the neighborhood found passersby doing a double-take upon approaching a large translucent cube with flotsam and jetsam suspended inside.

A quick Google revealed the person responsible for its creation, Japanese-born Philadelphia artist Keiko Miyamori. The sculpture, City Root, has had a strange journey, and it's not over yet.

As an idea on paper, City Root won a 2004 art competition held by the Frederik Meijer Gardens & Sculpture Park in Grand Rapids, Michigan, and so Miyamori set out to realize it. She spent $100,000 on the basic material, a UV-resistant crystal-clear resin. A mold was fabricated in Allentown. The "pour" was made in Easton. The piece was then shipped back to Allentown to be taken out of the mold and polished.

It was shown in Philadelphia, Pittsburgh, and eventually was shipped to its commissioner in Grand Rapids.

It's a striking and thoughtful work that explores the relationship between city and nature. Miyamori froze in the resin a 4,000-pound root of an oak tree pulled up from 11th and Girard, where Cambridge Plaza housing project was coming down. Bricks, glass and metal were entangled in the root, and they have been preserved in the dark-blood cube along with the root.

But during the curing process, cracks began to appear in the work. And the commissioner rejected the final product. "I told them that the cracks added more value in my sculpture becasue it expressed my original concept: 'power of nature,'" Miyamori told me. But the Meijer didn't buy the argument, she said. So "City Root" was sent back to Philadelphia. Bruce Shelly, owner Shelly Elecrtic Company at 12th and Callowhill, agreed to let it live on the property for three years. "If I cannot find an opportunity to sell it, the sculpture will belong to him automatically," says the artist.

Miyamori says she spent a total of $170,000 on the project, only $95,000 of which was covered. So she's left holding the bag on the rest unless the piece sells. And that $170,000 does not include any payment to the artist for her time and labor, she said.

"I had to absorb at the rest and had to work like crazy these years," said the artist (whose English has been slightly adjusted in these quotes). "I don't have children, though I think I have the feeling to be a parent. I had to look after her without paying until she graduates school - hoping that she will be independent from me and create her own reputation to earn money by herself."

Joseph Becherer, curator of sculpture and director of exhibitons for the Frederik Meijer Gardens & Sculpture Park would only confirm that Miyamori won the competition and that it was not now in the collection, but would not comment further.

In the meantime, there it sits behind a chain-link fence, like Prometheus bound. Seven by six by seven feet cubed. 17,000 pounds. Waiting for a home.


Inquirer Classical Music Critic
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About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

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