Cloud Room Field
Collection: Houston Airport System (HAS)
2015
Dichroic glass with anodized aluminum armature and extrusions, and stainless steel components
Location:
William P. Hobby Airport (HOU)
7800 Airport Blvd
Houston, TX 77061
About the Artwork:
Cloud Room Field (2015)
by Christian Eckart
Christian Eckart, born in Calgary, Canada in 1959, came to Houston in 2003 and is known for using industrial materials such as aluminum, steel, automotive lacquer, and glass for his artworks. He has been a visiting professor at the University of Houston and Rice University and has works in the permanent collections of the: Museum of Modern Art in New York; Art Institute of Chicago; Museum of Fine Arts Houston; and more. Here is one of his large-scale installations that measures 10 feet high, 60 feet long, and over one foot deep and located in Hobby Airport. It is made with 600 panes of custom-made dichroic glass, which can display multiple different colors depending on lighting conditions, in nine pastel colors; the panes are suspended at 45-degree angles in six directions inside a three-dimensional armature of anodized aluminum and stainless steel. It took Eckart eight months to design and fabricate the piece, along with a team of craftsmen in Austin, TX and Toronto, Canada. Near the installation are large windows, so the colors change into different combinations throughout the day. Eckart said: “It will never be the same work twice for any one viewer or upon multiple viewings.”
Sala Nube Campo (2015)
por Christian Eckart
Cloud Room Field (2015)
by Christian Eckart
Christian Eckart, born in Calgary, Canada in 1959, came to Houston in 2003 and is known for using industrial materials such as aluminum, steel, automotive lacquer, and glass for his artworks. He has been a visiting professor at the University of Houston and Rice University and has works in the permanent collections of the: Museum of Modern Art in New York; Art Institute of Chicago; Museum of Fine Arts Houston; and more. Here is one of his large-scale installations that measures 10 feet high, 60 feet long, and over one foot deep and located in Hobby Airport. It is made with 600 panes of custom-made dichroic glass, which can display multiple different colors depending on lighting conditions, in nine pastel colors; the panes are suspended at 45-degree angles in six directions inside a three-dimensional armature of anodized aluminum and stainless steel. It took Eckart eight months to design and fabricate the piece, along with a team of craftsmen in Austin, TX and Toronto, Canada. Near the installation are large windows, so the colors change into different combinations throughout the day. Eckart said: “It will never be the same work twice for any one viewer or upon multiple viewings.”
Sala Nube Campo (2015)
por Christian Eckart
Christian Eckart, nacido en Calgary, Canadá en 1959, llegó a Houston en 2003 y es conocido por utilizar materiales industriales, como aluminio, acero, laca automotriz, y vidrio, en sus obras de arte. Ha sido profesor visitante en la Universidad de Houston y en la Universidad de Rice, y cuenta con obras en las colecciones permanentes del: Museo de Arte Moderno de Nueva York; Instituto de Arte de Chicago; el Museo de Bellas Artes de Houston; y más. Aquí se presenta una de sus instalaciones a gran escala, la cual mide 10 pies de alto, 60 pies de largo, y más de un pie de profundidad, y se encuentra ubicada en el Aeropuerto Hobby. Está compuesta por 600 paneles de vidrio dicroico hechos a medida, capaces de mostrar múltiples colores diferentes según las condiciones de iluminación, en nueve tonos pastel; los paneles se encuentran suspendidos en ángulos de 45 grados orientados en seis direcciones dentro de una estructura tridimensional de aluminio anodizado y acero inoxidable. A Eckart le tomó ocho meses diseñar y fabricar la obra, junto con un equipo de artesanos en Austin, Texas) y Toronto, Canadá. Cerca de la instalación hay grandes ventanales, por lo que los colores se transforman en diferentes combinaciones a lo largo del día. Eckart dijo: “Nunca será la misma obra dos veces para ningún espectador, ni siquiera tras múltiples visualizaciones.”