This project represents Carther's largest single piece yet undertaken. It consists of nine towers of glass, collectively adding up to 42 meters (130 feet) of span and reaching to 8 meters (26feet) at its highest point. The series of panels are inspired by Alaska's immensely rugged landscape of glaciers and mountains. Below you'll find Carther's detailed discussion of the piece.
The themes in my work serve to assist the architectural environment in defining a sense of place. All of my work addresses, in some way, the idea of the interdependence of human beings and nature. The works represent our innate desire to comprehend the world around us; to look beyond the rational and the visible; to reveal some essential truth about the world and our place in it.
Within the nine glass towers of “Euphony”, there are several themes, which are represented by many overlapping images and symbols. The primary theme is the complex relationship between nature and industry in Alaska. These images and symbols flow organically throughout the entire sculpture and only occasionally are confined to just one tower.
My original inspiration for “Euphony” came from Alaska’s enormous landmass and the magnitude of its mountains, icebergs and glaciers. The abstract forms I designed reflect their inspiration through their massive scale, rugged shape, texture and color. My intention was to evoke the sense of awe that one feels in the presence of colossal vistas of rock, ice, and snow.
I was fascinated by the repeated textures and patterns found in the Alaskan landscape. The patterns that could be observed beneath one’s feet as one walks across the land are often very similar to those that can seen from the window of an airplane crossing the very same land. The carved textures in the glass reflect this. It is a deliberately ambiguous impression of the various patterns and textures in rock, ice, forests, tundra and taiga. It may bring to mind lichen or bush, the sand on a beach in Nome, the breakup of the ice on the Yukon river, or a stretch of islands near Sitka.
In the work there are many perspectives shown simultaneously, with multiple views on different scales of the Alaskan landscape.
I have contrasted these nature inspired images with large rectangular fields of copper colored glass. These areas represent traditional “Coppers”, the beaten copper plaques that are created by many of Alaska’s coastal native people, for whom the “Copper” is a cherished symbol of great wealth. I included the “Coppers” as a symbol of the spectacular abundance of nature that all Alaskans possess.
Within some of the “Coppers” I have created a curvilinear silver form that may, from a distance, appear to be the scales of a salmon. However, as one gets closer, it can be observed to be a pattern taken from expanded metal, a material used extensively in industry. The creation of this ambiguous image makes a reference to Alaska’s continual need to be watchful in balancing the impact of its industrial world with the splendor of its natural world.
Additionally, all twenty-one of the hollow structural steel columns are encased in riveted and seamed aircraft aluminum. The aluminum casings are created from the same materials and have a similar aerodynamic shape as aircraft wings. Aerial views and aircraft are recurring themes throughout the work.
Imagery in Towers One to Nine
Tower Number One, on the left or the south end of the sculpture area, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective. This motif is carried throughout the entire nine towers of the sculpture.
There is a large metallic colored ”Copper” on the lower left side of the first tower. It is one of seven “Coppers” within the entire piece.
Running along the lower section is an image that shows a horizon view of a mountain range. This sand colored image runs through the lower section of all nine towers.
As well, there are a series of dots and lines, which make reference to the rivets and seams on the aluminum fuselage of aircraft.
Tower Number Two, which is to the immediate right of Tower One, is composed primarily of the blue/green zone, with various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
Running along the lower section is an image that shows a horizon view of a mountain range.
As in Tower Number One, there are a series of dots and lines, which make reference to the rivets and seams on the aluminum fuselage of aircraft.
Tower Number Three, which is to the immediate right of Tower Two, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the central area of the third tower and here is introduced the curvilinear silver form representing both salmon scales and expanded metal.
Running along the lower section is an image that shows a horizon view of a mountain range.
Tower Number Four, which is to the immediate right of Tower Three, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the left side of the fourth tower and here is also included the curvilinear silver form representing both salmon scales and expanded metal.
Running along the lower section, as in all nine towers, is an image that shows a horizon view of a mountain range.
At the crown of Tower Number Four is the introduction of the Northern Lights created out of laminated dichroic glass. This dichroic glass transmits a blue /magenta color while reflecting gold/green.
Tower Number Five, which is to the immediate right of Tower Four, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the central area of the fifth tower.
Running along the lower section is an image that shows a horizon view of a mountain range.
The dichroic glass Northern Lights imagery continues at the crown of Tower Five.
Tower Number Six, which is to the immediate right of Tower Five, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the central area of the sixth tower.
Running along the lower section is an image that shows a horizon view of a mountain range.
The dichroic glass, Northern Lights imagery continues at the crown of Tower Six with snippets of the Northern Lights.
Tower Number Seven, which is to the immediate right of Tower Five, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the central area of the third tower and here again is the curvilinear silver form representing both salmon scales and expanded metal.
Running along the lower section is an image that shows a horizon view of a mountain range.
Tower Number Seven also makes a reference to the midnight sun with a large circular yellow shape tucked into the piece near the crown.
Tower Number Eight, which is to the immediate right of Tower Seven, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
There is a large metallic colored ”Copper” in the central area of the Eighth tower and here again is the curvilinear silver form representing both salmon scales and expanded metal.
Running along the lower section is an image that shows a horizon view of a mountain range.
Tower Number Nine, which is to the immediate right of Tower Eight, contains within the blue/green zone, various textures and patterns from the Alaskan landscape as seen from an aerial perspective.
Running along the lower section is an image that shows a horizon view of a mountain range.
Tower Number Nine contains a unique circular element and is a significant element in my concept for the sculpture. The large circular form with large industrial bolts was originally inspired by an image of a hydroelectric dam that I was using as a symbol of the industrialization of Alaska. As the concept of the work evolved, the imagery became more ambiguous, and took on more meaning it came to represent in my mind the engines on the aircraft that brought people to Alaska, the portholes on the ships that brought tourists to Alaska, the tires of the giant land moving machines that transformed the landscape of Alaska and the pipeline that takes oil out of Alaska. Within the centre of the circle lies and image within the image. It again like much of my imagery is very ambiguous, but it makes a subtle reference to a very hazy landscape or seascape, suggesting a future that is not yet clear and to be determined.
Reflecting upon the exceptional balance between industrialization and nature that exists in Alaska, I titled the work "Euphony". Euphony is a literary term that refers to the sound of words, which, when spoken together, create an exceptionally beautiful and harmonious sound.
Location
Grand Foyer, btwn Baggage Claim Wings
