For Olympia’s 2013 Percival Plinth Sculpture Project I applied with the TINE BALL I put together a year or two ago. The core of the piece is a double spiral made from the half-circle spring-steel tines of a hay rake. I knew that if it was accepted into the exhibition I’d have to come up with a base for the piece, some way to affix it to the plinth and hold it up against the sky.
The TINE BALL was already galvanized and powder-coated silver. When the proposal was accepted, I fabricated two curving rods from a scrap-pile of short 7/8” steel rounds, and cut out some brackets that would allow me to bolt them to two of the 3” spring coils on the tines. Some scraps of 2” angle iron became a base that would fit the design constraints of the plinth.
With the piece all together I realized I wanted it to be red—like OXYGEN (Ring Dance #5)—in order to stand out in the complicated downtown, harbor-front space of Percival Landing. It’s summertime—powder-coating took four weeks. I installed it June 10, on schedule.
To me, part of TINE BALL’s beauty is the delicacy of the form. A breeze can make it shudder. It’s a bit delicate for the “fraternity rules” classically considered for such situations. I knew there was a risk in putting it out where the public can interact with it. The sign says “do not climb”—but eight days after installation someone apparently did just that. My guess is he or she tried to get inside the ball. I know, I’ve thought of that too. Tine points broke loose at each hub.
Now we were only one week from the opening reception. I had to repair and reinforce the piece, and get it coated again (third time’s the charm!) We took it down and over the weekend. I repaired and beefed-up the hubs and added nine more welds to stabilize the belly of the ball.
C T Specialties in Olympia was just as busy as the first time I took it in for powder-coat, but they recognized my plight and had it ready in four days. I tipped them enough to buy everyone a couple of beers, and loaded-up the rebuilt TINE BALL still hot from the oven. We bolted it back on the plinth fifteen minutes before the opening reception began. Unbelievable.
Now, the risk is still there. The piece is stronger but still delicate—you wouldn't see the difference unless I pointed it out. It might be able to withstand another exuberant “return to the womb”—but I hope I don’t find out. Meanwhile, it’s there. Come down and see it.
If you get there during July or August, the city has ballots available in pamphlet-boxes on the landing. Olympia will buy the sculpture that gets the most votes, for their growing collection. Voting ends August 31. Here’s an essential voting tip: your vote won’t count unless you fill in the box that asks what it is you like about the piece you have chosen. The answer is subjective; you can’t get it wrong—so answer the question and be counted!
In other news: Debi of 33 Image Design rebuilt my sculpture and furniture website. It’s now searchable and very slick. I also have a verbal commitment with Gallery IMA in Seattle’s Pioneer Square to begin representing my work soon. I’ll let you know.
Art and Practice
Don Freas is an artist, writer, and poet in Olympia, Washington.