Sunday morning re-installation of Bonneville Upstream.
The rest of the morning was up at the intersection of 2100 S 1300 E, with the long turn lane still closed for street construction. This gave us a nice safe space to park and work from. The City’s public art coordinator, Kat Nix, brought hardhats and safety jackets for the guys, and pitched in with the work. The director of Salt Lake City’s Arts Council, Felicia Baca, also stopped in, joking around at how I used to be her boss back when I ran Global Artways for the City. After Jed and I had dug out the holes and installed the paired group into concrete footings, Chris made a quick trip up to help us lift the triple group into position and slurry in the concrete. Everything went swimmingly, and the trout are happily in the current again.
Modular repetition, 3/D Form in relation to 2/D Shape, minimal structure, decontextualized, bare media; rebar reinforcement for concrete footings for the Trout. When doing structural work like this back in academia professors would lead their students by and talk about how my work had shifted strongly to conceptual concerns.
Bend twenty seven 36″ runs of rebar into 9.5″ circles, then weld the ends of the circles together. Add three runs of 36″ rebar with the circles welded at 0 / 12 / 24 inches (like a bar stool). It was such a warm & humid afternoon that the welder kept cycling to cool down.
This thankless little chore will all go in the ground, sleeved around the stainless steel poles upholding the trout, and immersed in concrete. Earlier in the summer I made the steel gate for the ranch rather than these, and now that I’m back I just wanted it off my plate.