Janet Echelman’s gigantic yet delicate woven art works are evolving. While her earlier work offered warm, enveloping concentric rings of colors enlivened by carefully-orchestrated folds, her newer works, which pair with contemporary works of landscape architecture, introduce bold molecular forms and evoke more complicated ideas and histories.
Over a central plaza designed by landscape architecture firm Gustafson Guthrie Nichol (GGN) at the Bill & Melinda Gates Foundation campus in downtown Seattle, Echelman created Impatient Optimist, which is suspended between two buildings, for the ambitious do-gooders in the surrounding buildings. Sparer woven forms emphasize the piece’s circular middle.
A new work on the Sunset Boulevard in West Hollywood is another departure from her norm. Connecting two buildings for Hotel 1, Dream Catcher is inspired by traditional Native American forms but updates them with data-based representations of brainwave activity, offering a portal into the depths our dream worlds.
It’s otherworldly, even a bit spooky, with its neural-network organization, but no doubt mesmerizing in person.
The 10-story sculpture sits above a plaza designed by landscape architects with Mia Lehrer + Associates. Unfortunately, timing-wise, the design of the plaza and the sculpture didn’t line up, so they exist independently of each other.
Echelman writes on her website: “The artwork’s inspiration stems from dreams and the idea of dreaming hotel guests asleep in the two buildings. Dreams are not only private experiences, they are also social and cultural ones. Dream Catcher is an apt title not only for how it speaks to the guests of the hotel, but to the larger region and its identity as a global epicenter for entertainment and media – the place where dreams are invented and pursued.”
And, finally, one work that just celebrated its one-year anniversary is Where We Met, which forms the centerpiece of LeBauer City Park in Greensboro, North Carolina. Landscape architects with OJB Landscape Architecture purposefully left a space in the middle of the green park for a monumental art work. The piece weaves in the textile industry and transportation history of Greensboro through strikingly bold and wide bands of color, also a bit of a departure from her past work.
On her website, Echelman writes: “I discovered that Greensboro was nicknamed the ‘Textile Capital of the World’ and ‘Gateway City’ because six railroad lines intersected there, so I started tracing the railway lines and marking the historic textile mills that dotted the routes. These routes brought together people from diverse cultures and races, so I wove together lines of brilliant color that meet at the center, and titled it ‘Where We Met’.”