Janet Echelman

Michelle Obama beneath 1.8 Renwick, 2016

1.8 Renwick is a sculpture commissioned by the Smithsonian American Art Museum for the reopening of the Renwick Gallery in Washington, D.C. after a 2 year long renovation. The renovation aimed to transform the Renwick Gallery into an interactive art space.[15] 1.8 Renwick hung in the Grand Salon of the Renwick Gallery from November 2015 to June 2017 [16] and was the site Michelle Obama brought a Nordic delegation to introduce them to Contemporary American Art.[17] The large net sculpture was part of the museum's Wonder exhibition from November 13, 2015 until July 10, 2016, then was acquired by the Renwick Gallery for their permanent collection and stayed on view in the Grand Salon until May 21, 2017. Its re-installation in 2020 has been extended into 2023.[18] The piece is part of Echelman's Earthtime Series, and 1.8 Renwick was custom designed to fit the space of the Grand Salon. The number in the title refers to the measurement of time the earth's day shortened in response to a shifting of the earth's crust.[19] Echelman also designed a 4,000 square foot textile flooring with a pattern which matched the topography of the sculpture above. On the floor, furniture was arranged to invite viewers to lie down and be immersed.[20]

Bill Clinton in front of Where We Met, 2016

Installed in 2016, this aerial net sculpture measures 200 by 130 feet (61 m × 40 m) and is suspended over the Great Lawn of LeBauer City Park in downtown Greensboro, North Carolina.[21] The design is inspired by the city's textile industry and the six railroad lines that intersected there, bringing people together.[22]

Installed in 2015, Impatient Optimist was commissioned by the Bill and Melinda Gates foundation for their global campus in downtown Seattle that opened in 2011.[23] By photographing the Seattle sky every five minutes during a 24-hour period, Echelman and her studio analyzed the color data of the picture sequence and graphed it radially.[24]

Every Beating Second

Within the renovated Terminal 2 of San Francisco International Airport, this 40-foot (12 m) sculptural installation of colored netting hangs below three round skylights. During the day, the shadow of the sculpture interplays with a shaded outline of the shadow that would occur at the summer solstice. At night, the sculpture is lit with programmed color lighting. Fans animate the sculpture throughout the day.

The title of the sculpture is from a line by beat poet Allen Ginsberg in his poem Howl, which he wrote in San Francisco.[25] Visually, the sculpture evokes the contours and colors of cloud formations over San Francisco Bay and hints at the silhouette of the Golden Gate Bridge. Aesthetically, the sculpture looks both backwards and forwards, drawing its color from the heyday of psychedelic music, the Summer of Love, and San Francisco's prominence in the beat poetry movement, while also referencing the contemporary bay area as a hub of innovation and interconnectivity for the world of technology.[26]

Water Sky Garden in Vancouver, 2010

Put on display beginning in 2009, Water Sky Garden is a contemplative art environment at the plaza surrounding the Richmond Olympic Oval, a legacy of the 2010 Vancouver Olympic Winter Games. Red-stained cedar boardwalks lead visitors through the artwork.[27] Water-purifying aerators draw shapes with bubbles on the surface of a pond that collects runoff water from the Oval's 5-acre roof, while suspended net sculptures move overhead in the wind, becoming sky-lanterns with nighttime illumination.

Her Secret is Patience in Phoenix, 2009

Finished in 2009, this 145-foot-tall (44 m) aerial net sculpture is suspended over Civic Space Park in Phoenix, Arizona. Nighttime illumination colors change gradually through the seasons, from blues in the summer to reds in the winter.[14] The title quotes poet Waldo Emerson: "Adopt the pace of nature; her secret is patience."

She Changes in Porto, Portugal

Installed at the Praça da Cidade do Salvador, Porto, Portugal in 2005, this sculpture is composed of an aerial net sculpture hanging from a 45-metre (148 ft) steel ring on three steel support poles. The city has made the sculpture its graphic symbol and residents give different interpretations of the work, from fishing nets, ships and masts of maritime history, to smokestacks of the industrial past, to Portuguese lace, sea creatures, and ripples in water.[26]

Installed in 2023, the sculpture sits in Downtown Columbus, Ohio. It is her only work over an intersection.

As If It Were Already Here in Boston, 2015

Commissioned by the Greenway Conservancy's Public Art Program, As If It Were Already Here was suspended over the Rose Kennedy Greenway in Boston, MA from May through October 2015. The netted sculpture was 245 feet long and tethered to surrounding skyscrapers.[28] The piece's design represented the history of the space that it was suspended across.[29] Three voids in the sculpture recalled the history of the "Tri-Mountain" which once existed in its spot but was flattened in the 18th century to allow for more flat land near the harbor. Six colorful stripes across the piece represented the six lanes of traffic of the highway that used to occupy the space of the greenway before the "Big-Dig" that relocated the highway underground.[30] In 2023, the Boston Society of Architects awarded the work its Harleston Parker Medal, which recognizes “the most beautiful piece of architecture, building, monument, or structure built in the metropolitan Boston area in the past 10 years”.[31]

Skies Painted with Unnumbered Sparks, 2014

An aerial sculpture created for the TED (Technology, Entertainment, Design) conference's 30th anniversary in March 2014, suspended between the Vancouver Convention Centre and a 30-story building. For this piece, Echelman collaborated with the Google Creative Lab's Creative Director of the Data Arts team, Aaron Koblin.[32] The sculpture spanned 745 feet. Viewers were able to connect to the lighting program and interact with the sculpture with their smartphones.

Echelman was commissioned to build one of her aerial net sculptures for a one-night light festival, GLOW, in Santa Monica on the night of September 28, 2013. The sculpture included shaped beach and an audio program to immerse visitors in the piece.[33] More than 150,000 people attended and experienced the sculpture that night. The New York Times credited Echelman's work for "giving crafts a coolly conceptual edge."[34]

The experience of creating this sculpture marked a point of change for Echelman. "The beach is the charged zone between human society and uncontrolled nature," she said. "I'm interested in sculpting earth and sky, and placing ourselves in between. It's the collision of heaviness and lightness, between our gravity-bound bodies which walk on sand, and the part of us which seeks to float in air, or in water."[35]

1.26 in Montreal, 2016

1.26 is a 230-foot (70 m) aerial sculpture originally created for the City of Denver's Biennial of the Americas celebration in July 2010. The city requested a large-yet-temporary work exploring the theme of interconnectedness of the 35 nations of the Western Hemisphere. Its form was inspired by data sets of the tsunami's wave height rippling across the Pacific Ocean.[36]

Unable to use a steel armature, a UHMWPE support structure was developed. This resulted in a lightweight, low-impact design which could be temporarily attached to existing architectural structures, and also allowed the sculpture to better respond to the wind.[37] At night darkness conceals the support cables while colored lighting creates the appearance of a floating form.

Its first installation was in downtown Colorado, suspended from the roof of the seven-story Denver Art Museum. It has since traveled to exhibitions on five continents: Sydney's Art & About Festival (2011); the Amsterdam Light Festival (2012–13);[38] Singapore (2014); Montreal (2015); the Signal Festival in Prague (October 2015); the Lumiere festival in Durham, England (November 2015); and Santiago, Chile (2016).

1.8 above Oxford Circus, 2016

1.8 is a large aerial net sculpture which undulates in the wind and weather. It can be transported and installed for exhibitions, tethered to existing architecture. At night, colored light is projected onto the sculpture and can be altered via smartphone app by the viewing public.[39]

The sculpture's title refers to the period in microseconds that the day was shortened as a result of the 2011 Tōhoku earthquake and tsunami,[40] and its form was inspired by data sets of the tsunami's wave height rippling across the Pacific Ocean.[41]

1.8 premiered at the January 2016 Lumiere festival in London, where it was installed 180 feet (55 m) over the busy pedestrian area of Oxford Circus.[42] Its first showing in the United States was at San Diego's Embarcadero Marina Park South for the 2016 Adobe MAX Creativity Conference.