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| The limestone sections of the Discovery Muse have been loaded onto two flatbeds (Mercer Transportation) and depart for Lake Eola in Orlando Florida. I wanted to do a little more tweaking on the face and so packed grinder, sander, extension cord, etc. all the things I needed to work on site and headed down to Orlando as well. I saw this vehicle somewhere around Atlanta Georgia and name of the company "Overeducated Painters and Renovators" just tickled me. |
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| It was a long trip - it took two days- but I finally reach the destination. This is the Grand Bohemian Hotel. The nice people with See Art Orlando provided me with accommodations here. |
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| The halls of the hotel feature exhibitions of art and this painting was in my room. The room itself was really, really luxurious. I felt like I shouldn't touch anything. |
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| My room service meal, a delicious Margherita Pizza, Sprite and fruit. |
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| The view from the room |
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| The next morning I had to meet the crane at the site for the installation of the limestone sections. I went early to look at the site. This is one of the other sculptures commissioned by See Art Orlando. It is called Centered and was created by CJ Rench. |
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| I find the first truck, everything looks good. It's still really early, a couple of hours before the crane will show up. I'm sure George, the driver, is asleep so I won't bother him. |
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| The site. These are concrete footers that go down in the ground 18" and have rebar on 18" centers. The head will go on the elevated concrete pedestal. |
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| The second truck (Mercer transportation) with the two forearms and knee. Cesar is the driver of this truck. He and George did an excellent job in securing the work. Moving sculpture is a nerve wracking experience - it's great to have real professionals on the job. |
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| This is a 70 ton crane from Beyel Brothers of Orlando. It has set up near the site (to the left in this photo). |
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| A road of plywood was built across the lawn of the site to prevent damage to the underground utilities. The Leg is the first to be set on it's foundation. The leg goes before the others so I can eyeball the proportions, if the figure feels too short I can have the crane move it further out. |
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| The man in the foreground is the rigger and he handles the rigging the work and directing the operator. His name is Brent Wylde. The man in the cab of the crane is called the operator. His name is Thomas Maynard. |
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| Lisa Henry of the Streets Department watches as the leg comes off the truck, headed for it's resting place. I stay back as the pieces are being installed so I can better judge the proportions and how they will relate to each other. |
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| The leg took a bit to get it properly placed, I had to run around a bit, this way and that, just to be sure. Once the rigging is removed it would be a real problem to get it back underneath to move it. Visualization is important here. I have to be able to imagine where is the upper leg and hip in relation to the knee, the two arms, etc. In a way, the head is easy to place, not a lot of latitude in how it is placed. I do have a model of maquettes and earthwork that I refer to but in the end I trust my eye. |
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| After the head is installed on the foundation, the straps need to be removed. Rob Howland of Facilities Management tries to remove the strap but it is pinned by the stone. A second strap will be used to rig around the hair and lift the stone so the first strap can be pulled free. |
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| The strap on the other side was stuck as well, the head is being lifted to it can be removed. The head overlaps the pedestal so that earthwork and plantings can be installed around it. The corner of the foundation is under the chin to support the stone and keep it from pitching forward. |
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| Brent Wylde has rigged the right forearm as Thomas Maynard moves it into place. It was a smooth, smooth job. I have seen every kind of skill when it comes to cranes from the very worst to the very best. These guys rank right up there with the very best. Took a lot of stress off of me - thanks guys! |
