The Snow Wave

Snow as a Medium for Public Art

Although water is a substance found almost everywhere on Earth, snow, its frozen equivalent, is not.  Those of us who live or have lived where snow makes its presence felt every winter, have all created public art with this medium at some point during our lives: snow people of all sizes and shapes, snow castles, snow totems, snow forts and other more elaborate snow carvings. A number of contemporary artists use snow to express their awe of nature, the vastness of a pristine, snow-covered landscape or simply the intrinsic beauty of the material. French artist, Simon Beck, fabricates enormous, complex patterns in the snow by stomping in snow shoes over his ‘canvas.’

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Snow Art by Simon Beck
Photograph Courtesy of Simon Beck

Simon Beck's Wave


Snow Art by Simon Beck
Photograph Courtesy of Simon Beck

The Snow Wave

On February 8 and 9, 2013, Blizzard Charlotte, a storm of historic proportions, dumped almost three feet of snow in my figurative and literal backyard.  Using the white material as a ‘canvas’ of our own, Elena and I created a Wave installation in the snow. All of the pieces that have been created to date by visitors at Wave sites, minus the ones currently hanging at the Gaffney Elementary School in New Britain, CT, went into the sculpture that cascaded down the side of the house, meandered into and over the brook and flowed around the garden plantings.  We were exhausted from tromping through knee-deep snow for three hours, but gratified by the results.

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The Snow Wave, 2013 by Susan Hoffman Fishman and Elena Kalman
Photograph Courtesy of Elena Kalman

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The Snow Wave, 2013 by Susan Hoffman Fishman and Elena Kalman
Photograph Courtesy of Elena Kalman

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The Snow Wave, 2013 by Susan Hoffman Fishman and Elena Kalman
Photograph Courtesy of Elena Kalman

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The Snow Wave, 2013 by Susan Hoffman Fishman and Elena Kalman
Photograph Courtesy of Elena Kalman

 

Why The Wave?

The Wave-Kennedy Greenway,Boston


The Wave Installation
Rose Fitzgerald Kennedy Greenway, Boston, MA, 2011
Photograph Courtesy of Lena Stein

A Water Event of Global Proportions

On March 11, 2011, a magnitude 9.03 earthquake, centered east of the Oshika Peninsula of Tohoku in Japan, triggered powerful tsunami waves that reached heights of up to 133 feet, moved portions of Japan by as much as 7.9 feet and shifted the Earth on its axis a distance estimated at between 4 and 10 inches.  Further magnifying the damage caused by the earthquake itself, the ensuing tsunami devastated the island country, leaving millions of people without homes, electricity and clean water and triggering nuclear meltdowns at three reactors in the Fukushima Daiichi Nuclear Power Plant. In response to the tsunami, warnings were issued over the entire Pacific Ocean, including the coastal areas in most of California, Oregon, Washington, British Columbia and western Alaska. Infrastructure damage and destruction from waves caused by the tsunami totaled hundreds of millions of dollars in the Philippines, in Indonesia, in Papua, New Guinea and in Hawaii.  The impact from the 2011 tsunami is still being felt right now, in February of 2013, almost two years from the date of the original event. Recent aerial photographs taken along the coast of Alaska reveal evidence of widespread debris washing ashore from the Japanese tsunami and posing an environmental hazard of significant proportions.

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Debris Off the Coast of Alaska from Japanese Tsunami, 2013

Conceiving The Wave

Here, in Connecticut, my fellow artist, Elena, and I were literally ‘struck’ by our own visual images (a frequent occurrence for artists) of how that 2011 tsunami in Japan literally ‘connected’ us all to one another: this enormous wave originating across the world and traveling from continent to continent before washing up on own ‘front door.’ We talked about developing a project that would visually represent how dramatically we are all connected, regardless of our nationality, religious preferences, race or other artificial divisions, by our mutual dependence on water, one of the fundamental requirements for life on Earth.

During our conversations, we also discussed an appropriate medium for the project, which we eventually dubbed, The Wave. (Catchy, don’t you think?) Because we wanted to emphasize the universal nature of water, our individual and community responsibility to protect this vital resource and the theme of our ‘connectedness,’ we felt very strongly that it needed to be a community engagement, interactive, public art program.

The Function of Interactive Public Art

Public art is generally described as any work that is exhibited, and sometimes created, in public spaces so that it is accessible to the general public, not just those who frequent galleries and museums. We chose to create a public art project because, by it’s very purpose, public art is meant to enrich communities, provoke discussion and heighten awareness of significant public issues and events. An interactive, public art project enables members of the community, not just the artists, to participate in the creation of the work of art itself.  Interactive, public art inspires creativity among participants around a specific topic, generates community pride and fosters connections among the participants.

The Wave Design

We designed The Wave with these goals in mind. Because the material we use is especially unusual, enticing and beautiful and because it is so easy to simply cut a piece of it that evokes ‘wave’ according to the visitor’s interpretation, each individual coming to a Wave site can feel successful.  Children as young as five, entire school communities including parents, staff, teachers and students of all abilities and ages, adults who are normally intimidated by making art and seniors have all embraced the opportunity to ‘connect’ their pieces to the growing, glowing and undulating Wave that we hope will ‘roll’ right across the country and beyond. Since September of 2011, we have created seven installations in Connecticut, Massachusetts and New York museums/galleries, parks and schools in the vicinity of water. People have asked us why we join the pieces with black parachute cord that shows so prominently as an integral part of the installation.  Why not use transparent fishing wire or some other invisible material? And, of course, that is the point. We are using the black cord to emphasize how this Wave is being created, piece by piece, connecting individuals, communities, states and hopefully, an entire nation, to one another.

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Participants at The Wave Installation
Rose Fitzgerald Kennedy Greenway, Boston, MA, 2011
Photograph Courtesy of Lena Stein

The Wave Blog: On Water and Public Art

Now that the project is gaining momentum and many new sites are being planned as we speak, we are taking this opportunity to initiate a blog on water and public art.  We’ll be posting stories, information and news that we find interesting and provocative on water issues and events, on other public art projects, on our experiences as we engage communities at Wave sites and on the progress of The Wave itself.  We welcome your comments, your personal water stories and your participation.