Robolights: The Magical World of Artist Kenny Irwin

Kenny Irwin and one of his awesome creations
Kenny Irwin and one of his awesome creations

Kenny Irwin has created a kingdom far more magical than Walt Disney’s. In the middle of Palm Springs’ Movie Colony district, Irwin has crafted giant sculptures of robots, animals, and all sorts of other-worldly creatures – a thousand tons of art work, according to the artist – and placed them at his and his father’s four-acre property. It’s a mix of The Nightmare Before Christmas, Iron Giant, science fiction, and yes, Disneyland style, with the fusion of these elements an artistic wonder that will blow viewers’ minds.

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“I started making art as a baby,” the 41-year-old Irwin relates. “I always knew I was an artist. It’s kind of like when a cat is a kitten, it knows it’s a cat.”

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Some 29,000 visitors so far have passed through Irwin’s sculptural works, primarily during the holiday season when the installations are lit up like a million jewels with sparkling, multi-colored, marvelous webs of lights. It takes several months to set up the light display, but Irwin works on his art constantly throughout the year.

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He displays it year ’round, too, and visitors are welcome for a small donation. What will they see? Marvelous works created using scraps and discards from neighbors and pieces bought on eBay. Irwin often makes some of his large pieces right on the spot. Highlights include a “bird bot” with “feathers” made of pallet boards, and 500-feet of rail track made from lawn chairs.

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“I visualize my works in my head, completely. Nothing is planned or stored, in my memory indefinitely,” the artist relates.

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One enormous, fifty-ton piece was made when he was only eighteen years old, and took him two months to create.

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Irwin was kind enough to take us up onto platforms above his mammoth sculptures for a view 30-feet off the ground of his spectacular installations.

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He works in 43 different mediums today, and built his first robot at age 9, a 10-foot tall wooden figure with an antique phone imbedded in its chest. Irwin often uses old appliances and fixtures – from microwaves, which he holds in high disdain, to toilets.

 

 

 

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Irwin offers an array of smaller pieces for sale. Above and below, beautifully wrought, hand-fired skulls are filled with common substances from Cheerios to marbles, costume jewelry to sports souvenirs.

 

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His edgy but whimsical work was a part of a major exhibition in Baltimore, Md. in 2013, held at the American Visionary Art Museum in Baltimore. To fit his enormous sculptures inside, the museum’s front doors and a wall needed to be removed.

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It goes without saying, then, that Irwin needs a large space – and one larger than he has now – for his works. In fact, he envisions creating his own amusement park one day.

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Can art, writ large, be this much fun, this original, this life-consuming, this much of a legacy? Yes. And it’s a must-see for any art lover, anywhere. If you live in SoCal, don’t wait until next holiday season, get a tour of this impressive installation now, and then be sure to mark your calendars for a light-strung glowing visit post-Thanksgiving.

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  • Genie Davis, All Photos by Jack Burke

 

 

 

Closer than Ever – Musical Perfection at ICT Long Beach

 

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The International City Theatre in Long Beach is hosting a powerhouse of a musical through March 6th. And by musical, we mean all music, all the time.

There’s not a word of spoken dialog here, instead audiences find some twenty five story-songs composed by lyricist Richard Maltby Jr., with lush music by David Shire.  This off-Broadway classic is extremely well served by its vibrant and versatile cast members who combine strong voice with often heartbreaking emotion.

The stories these songs tell are of love – of life, of relationships -boyfriend/girlfriend/husband/wife, love lost, found, illicit, sexual, platonic, desired, and abandoned.

With no spoken dialog how does it work? Think vignettes, musical vignettes, think clear voices, spirited delivery, and a mix of the comic and the tragic. Highlights include the absolutely riveting tale of the loss of a marriage and the life of a liberated woman sung by Valerie Perri, “Life Story,” and the rageful, hilarious “You Wanna Be My Friend” sung by Katheryne Penny when she discovers her boyfriend just wants to be friends.

On the distaff side, the men in the cast are no musical slouches either. Kevin Bailey’s loving father/son tribute “If I Sing,” is also a heart-melter. Adam von Almen’s “One Of The Good Guys,” a tribute to fidelity and lost chances both, is also deeply moving.

And let’s not forget the music supporting these stand-out, indefatigable singers. Theater music director Gerald Sternbach on grand piano and Brad Babinski on bass.

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When viewing this production, we had no idea that the play was not an original production for ICT. The fact that it’s a classic piece of theater makes it no less vital – this “Closer than Ever” is “Fresher than Ever” thanks to its incredible cast and simply great score.

The International City Theatre is located in the Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach

  • Genie Davis; Photos by Tracey Roman

Spiraling Droplets by Aphidoidea

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February 24 through 28, Scottsdale, Ariz. will transform from an urbane Phoenix suburb in the desert to a place to explore the beauty and magic of water as an art form. The arid landscape is the perfect backdrop to an annual festival presented by the Scottsdale Public Art and Salt River Project, featuring 12 large scale interactive artworks by local and international artists, comprising the Canal Convergence Art + Water + Light Festival. One of the highlights of the festival will be the large scale water and light installation created by Los Angeles-based art collective, Aphidoidea.

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Aphidoidea’s 600-foot piece is titled Spiraling Droplets. It’s designed to reveal the graceful and elegant shape and beauty of a water droplet. To take that shape and create such a massive work yields a visual experience somewhat like projecting and magnifying a minute and delicate image from beneath a microscope, or like viewing a dazzling array of distant stars magnified through a telescope. In other words, taking a small and perfect idea – water droplets – and writing them large results in an astonishing work that features two water splashes, each containing 15 illuminated water droplets. These droplets grow progressively in size and shape, mimicking still-motion images of a water drop expanding. The pattern recreates the shapes and movements of water ripples and currents. Thirty droplets will float the length of the piece over the canal waters south of the Marshall Way Bridge at the Scottsdale Waterfront.

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A dream-like lighting sequence illuminates the droplets, creating the effect of natural light reflected on water. Running water, falling snow, a shower on a rainy day, and the reflections of light on a swimming pool are represented, as are larger scale water landscapes such as rainbows rising over clouds of mist and icy glaciers breaking.

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Spiraling Droplets literally and figuratively reveals the variety of shapes that water can create. Liquid, crystal, gas: these mutations that water makes have within them a wide variety of forms from snowflake crystals to softly spun clouds, wavering mist, and plummeting droplets. Many of these shapes are close to intangible to human sight, and yet we know of these shapes, and the feelings they evoke. While we may have never examined the intricacies of a snowflake with the naked eye, we know how they should look, and the wintery magic they invoke. The elegant beauty of a water droplet’s pulsating shape is again, emotionally imagined, but heretofore visually uncaptured. Spiraling Droplets allows viewers to see the process of a droplet forming and falling by a kind of stop motion technique which creates still views of that precious droplet within thousandths of a second.

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The Aphidoidea collective was entranced with the image and idea of a single droplet and its perfect transitions in shape and size – in a way, it’s wet universe contained in that single drop. It’s that vastness that is expanded and expressed at the astonishing exhibition in Scottsdale.

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Aphidoidea itself is an art, design and architecture collective that creates site-specific art installations that engage and inspire viewers while enhancing the environment. Collective members Jesus Eduardo Magaña, Paulina Bouyer-Magana, Jackie Muñoz, and Andrew Hernandez, craft art that explores and stimulates each site, through a combination of a conceptual approach, a variety of materials, interaction and perception.

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Initial site-specific installations have evolved for the collective, as their pieces have grown to include response and interaction from viewers.

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Based in Los Angeles, Aphidoidea has exhibited in the Boca Raton Museum of Art, the City of Long Beach, Inner City Arts, YMCA, in the City of Santa Monica, and at Burning Man. Recent exhibits have included installations for the Coachella Music and Art Festival, and public works at the Red Rocks College Metro Station for Denver’s Regional Transportation District and the city of Golden, Colorado. In 2010, the collective created the Icup II_Synthetic Landscape, which used 4,000 paper cups and 15,000 staples, to suspend the cups and create an entirely new spatial experience. The exhibition was held at Phantom Galleries, which places temporary installations in vacant storefronts throughout the Los Angeles area. Using the ordinary material of a paper cup, the installation took that unremarkable object and transformed it into a vibrant component of an other-worldly design, an abstract landscape that literally became alive with motion through a motion/heat sensor that activated a crankshaft to rotate the cups.

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Water is a more mutable form to begin with, and Aphidoidea’s blurring of the lines between art and technology should be a perfect match for such a shifting, enigmatic medium. The Aphidoidea team integrates skills in metal sculpture, intuitive architectural design, large scale art works, traditional art mediums from acrylics to water color, and found art forms. This multi-disciplinary collective utilizes materials and technologies such as CNC prototyping, 3D modeling, lighting, and interactive graphics.

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Whatever their methodology, the results Aphidoidea accomplishes are magical creations that fuse technology with wonder.

  • Genie Davis; Photos provided by Shoebox PR

Dreamcatcher at the Fountain Theater

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The diminutive Fountain Theater may be small in size, but the performances and theme of its current offering, Dreamcatcher, are huge.
Written by Stephen Sachs, the theater’s artistic director, the play, running through March 31st, on the surface tells the story of Roy (Brian Tichnell) a passionate solar engineer bent on helping the environment, and Opal (Elizabeth Frances) the vibrant young Mojave woman with whom he’s having an affair. They find themselves at odds over the fact that Roy’s company is planning to build a massive solar energy project on ground that Opal has just discovered holds an ancient burial ground.
Beneath the surface of this dilemma is another: Opal may be pregnant, Roy may be married to someone else.
Taking place on a stage in the round that’s been transformed to a circle of desert that’s basically sand and rock, the sometimes steamy, always morally provocative dialog rockets the audience through the single act play constantly on edge. Who is right and who is wrong here? Are moral concerns to be put aside for the “greater good,” whether that is the ecology of the planet or the wife Roy left behind in Massachusetts? Are traditions, lives, past lives, animals, humans merely particles caught in a corporate machine, no matter how well-intentioned?  What is of value? An idea, a science, love, the hapless birds whose fiery deaths Roy jokes about having witnessed as they plummet into the heat of the solar panels?
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All of these questions simmer while Roy and Opal’s relationship boils over in a fight both physical and emotional, cathartic and heart-breaking. While the play may at times skim over the hard choices both the audience and the characters must make, the political, social, environmental, and moral choices and ambiguities are entirely relatable and extremely timely.
Take this one in – it’s the kind of tough, makes-you-think theater we need more of in a city of thoughtless celluloid super heroes.
The Fountain Theater is located at 5060 Fountain Ave. in Los Angeles.