Peachy the Magazine March 2014 | Page 51

ART + ARCHITECTURE cycle, and just like another memory it becomes linked to the vaster memory, in which no chronology makes sense. Time is the substance of my work.” Plensa often explores dualism in his work as well, a theme on obvious display in The Crown Fountain, as the work is made of two 50-foot towers of illuminated glass brick united by a reflecting pool of ebony granite. The opposing dynamics of the piece create a dualistic frisson: the vertical towers contrast with the horizontal pool, the softness and the lightness of the spraying water play against the unyielding, dense stone. Using more than one million light-emitting diodes, the colossal screens randomly display the countenance of more than 1,000 Chicago residents who “converse” with one another across the water, just as people historically did when at a village fountain. The screens display images of the faces smiling, frowning, guffawing for several minutes, and then, for the last 60 seconds of the display, they pucker up as a spray of water pours out of their mouths (from a spout embedded in the brick). Thus, they are instantly transformed into digital gargoyles, linking them to historical fountains such as the Trevi. The screens go black as the images transition, and during the respite waterfalls cascade from the tops of the two towers until two new Chicagoans brighten the screens. In the dog days of summer the fountain becomes a bit of a high brow Wet ‘n’ Wild, as children splash and romp in the water, squealing with peels of laughter as the gargoyles spray and the waterfalls cascade down on to the granite. Sensory overload may develop as one takes in the bright visuals emitted from the screens, the timbre of the falling water, added to the visceral sensation of being in close proximity to others engaged in the same frenetic experience in the sultry summer swelter. The images reflect the diverse Chicago population and so do those who come to frolic in the joy of the piece. In winter, the water feature is suspended and the piece takes on a more serene, ethereal presence, particularly on a snowy or foggy day. The physiognomies MARCH 2014 49