Tips for observing the Blue Sky Sculpture

Blue Sky Sculpture, during the construction phase

By Phil Epp
Published 11-05-02 in the Newton-Kansan

Blue Sky interactive sculpture was developed through the joint efforts of artists Phil Epp, painter and designer, Terry Corbett, ceramist and designer, and Conrad Snider, ceramist and designer. The subject of sky and open space is universal and the connection between the current observer and the location's prehistoric past create a unique opportunity for contemplation and celebration.

The following tips outline some of the aesthetic decisions involved in the creation, development and location of the Blue Sky Project.

Viewing the sculpture from a distance

The most striking feature of the Blue Sky Sculpture is the vivid intensity of the blue in the glazed tile. The non-fading gemlike surface quality can appear like a sapphire mirage at predawn, and later glisten with the pinks and golds of sunrise. The colors appear most fluid and transparent during midday sunlight and more intense on overcast days and in the early evening hours. The majestic cobalt glaze is similar to the glazes first used by the Chinese around 1325 AD. It later became a favorite of British and Dutch ceramists. The large area of luminous blue in contrast with the white clouds and the life-size stoneware figures makes this a unique work of art.

Looking at Blue Sky from the viewing pad

The tile sky motif is intended to heighten the viewer's awareness of the changing Kansas sky. On an active weather day, three perspectives may be observed simultaneously: The natural sky can be viewed behind the glazed tiles and through the sky passageway. It can also be seen reflected in the shiny surface of the tile. The hand-painted and hand-installed tiles have a slight variation that causes light to shimmer and flicker on the liquid surface. The sun movement from east to west along the arched surface will change the color and intensity at different times of the day. The night lighting is intended to illuminate the cloud surface and fade into the natural night sky.

Viewing from the sculpture stage

Close-up viewers are encouraged to touch the tactile ceramic surfaces and look up. The massive arced walls of the sculpture become organic shapes from this close vantage point. They are designed to accentuate the distant perspective and to be in rhythm with the rolling landscape. The warm sunlight on a winter day makes the south side of the towers a pleasant area reminiscent of a prairie windbreak. The sculpture participant is encouraged to stand for a moment in the sky passageway. This "heart of the sculpture experience" is intended to enhance the viewer's observance of the surrounding sky and assign the participant a leading role in the visual drama.

The figures

The stoneware figures encourage interaction between the sculpture and the viewer. The sturdy, thick walled figures require six months to dry and are fired twice for eight days at a temperature of 2290 degrees Fahrenheit. The Shino glaze with rich, dark accents from iron oxide has been used for centuries by both Chinese and Japanese ceramists. The distant observer may encounter people on the sculpture stage, actively moving, mimicking and in rhythm with the stoneware figures. The figures are intentionally abstract so that the observer can assign them individual activity and identity. The viewer is also required to assign the drama and poetry between the figure, the cloudscape and the surrounding landscape.

Viewing from the north

Viewing from the north tends to conjure up thoughts of ancient civilizations and prehistoric Native Americans who occupied this exact location hundreds of years ago. The sculpture's location is near a former hub of Native American daily life and trade. The brilliant yellow circle on top of the passageway draws attention to both the sun and the moon. This side of the sculpture can bring relief from the hot summer sun. Walking past the passageway can bring an intense gust of summer southern wind. The participant is also encouraged to note the radius point of the arced walls and visually complete the towers' circle. With the imaginary circle complete little else but the mysteries of the ever-changing Kansas sky remain in sight.

Phil Epp teaches art at Santa Fe Middle School and designed the Blue Sky Sculpture.