Post on 07-Feb-2018
Catherine Wilson Energy, Ecology and Modernity
The Kelpies: How they relate and explain energy,
wealth and power.
Fine Art Level 4
Energy, Ecology and Modernity
Morag Colquon
Catherine Wilson
ST20045703
ADZ4999
st20045703@outlook.cardiffmet.ac.uk
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Catherine Wilson Energy, Ecology and Modernity
Contents…………………………………………………………………..2
Declaration of ownership…………………………...…………………….3
Introduction…………………………………………………………….…4
Main Argument…………………………………………...………………5
Conclusion……………………………………………………………….11
Bibliography……………………………………………………………..13
Reading List……………………………………………………………...15
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Catherine Wilson Energy, Ecology and Modernity
Declaration of Ownership
Within this essay I declare that everything apart from my references, that I have
obtained from other sources and have clearly labelled throughout my essay and in the
bibliography, is my own work.
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Catherine Wilson Energy, Ecology and Modernity
The Kelpies: How they were influenced by power, wealth and energy.
The Kelpies Horse sculptures show signs of energy, wealth and power. I am going to
compare points raised in lectures with this particular piece of art work, drawing up
similarities between the sculptures and the seminars.
The Kelpies Horses stand at an impressive 30metres high, making them the United
Kingdom’s tallest piece of public art. They are a part of the £46 million Helix Project to
redevelop the land, covering about 350 hectares, between Falkirk and Grangemouth in central
Scotland. This project which was funded by the Big Lottery Fund, Falkirk Council and
Scottish Canals and was designed to attract thousands of tourists, boosting the local economy.
The local authority leader Linda Gow said: “The Helix project is part of the My Future's in
Falkirk scheme which aims to create up to 4,250 new jobs and generate £50m a year for the
local economy by 2012”[1](BBC news report,16/3/2009). I have chosen this piece as I feel it
best represents energy, wealth and power in all senses of these words. Not only taking them
at face value but also the deeper meaning showing how all three are linked and reliant on
each other to create a piece of meaningful artwork that can stand the test of time.
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Catherine Wilson Energy, Ecology and Modernity
The Collins English dictionary definition of the word Kelpie is “a water spirit of
Scottish folklore, typically taking the form of a horse and reputed to delight in the drowning
of travellers.”[2](Collins English Dictionary,2014). This definition was the original
inspiration for the sculptures form, however, in the artists statement Andy Scott describes
how this concept changed; “The mythological associations behind the original brief that has
been absorbed by other sources of inspiration in the creative processes, and the ancient
ethereal water spirits that have been forged into engineered monuments. The Kelpies are
modelled on heavy horses (two Clydesdales of Glasgow City Council actually served as
models in the process) and it is this theme of working horses which captured my imagination
and drove the project. Clydesdales, Shires and Percherons, the ‘equus magnus’[3] of the
north. They are the embodiment of the industrial history of Scotland and the Falkirk /
Grangemouth area. Heavy horses would once have been the powerhouse of the area, working
in the foundries, the fields, farms and of course the canal itself, pulling boats along the Forth
& Clyde from coast to coast.”[3] (Andy Scott’s artist statement 11/2013). This then shows
how the power is linked so closely with the surrounding area.
The energy, wealth and power have all worked as one and strived to produce this
piece of artwork, through the rich history of the land. “The materials of the sculptures are
deliberately those of Scotland’s former industrial heartland, steel construction on an
architectural scale”[3] (Andy Scott’s artist statement 11/2013), this both shows the rich
history of Scotland’s industrialism and the wealth of the land itself. Showing how they have
lent themselves to create this large piece of history. The production of this installation has
embodied both the past and present of Scotland, “Steve Dunlop, Scottish director of British
Waterways, said: "This is great news, not just for the many local communities in and around
Falkirk and Grangemouth but for Scotland as a whole.
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Catherine Wilson Energy, Ecology and Modernity
The Helix has captured the imagination of the public both locally and nationally and I
have no doubt that this ground breaking environmental project will become a great source of
pride for everyone.”” [4]( Steve Dunlop, BBC report, 14/11/2007). The wealth through both
this history of the land and, in the materialistic sense of the word wealth, the generous
donations of different companies has allowed this sculpture to be created physically.
However, the wealth and power of the piece is also shown through its dramatic graphic
features adding to the whole energy and general experience of the sculpture. The total cost of
the sculpture was 5 million pounds sterling;- however, the international attention it has
received will hopefully generate a boost in the local economy, showing the power art and
design can create. “Jackie Killeen, director of the Big Lottery Fund Scotland, said: "This is
the single biggest investment the Big Lottery Fund has made in Scotland and we are
confident that this living landmark will be truly transformational."” [5](BBC news report,
27/11/2013). The Glasgow artist who designed the structure, Andy Scott, has included ten
thousand special fixtures to secure the ‘steal skin’ to the ‘skeleton’ of the two horse
sculptures. The sheer amount of these panels adds to the impressive appearance of these
structures, making the overall experience artistically richer.
The wealth of this piece is also a large provider of its overall power, the artist himself
stated in a documentary that he was blown away by the “cinematic presence” [6] stating that
“ the way they sit in the atmosphere is always changing”[6], their appearance in the natural
daylight, rain and mist is something “that [he] could never have predicted, no amount of
visualisation on computers…would ever capture the way they actually sit in the atmosphere
… it’s been amazing” [6] (Andy Scott in the BBC documentary on the Kelpies 11/2013).
This cinematic presents that has been created and reflected onto the two sculptures through
the natural elements was something that was never originally planned but has ended up
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Catherine Wilson Energy, Ecology and Modernity
enhancing the energy of the two pieces, therefore, showing the power of the entropy created
by nature.
Energy is shown in two forms, it can be shown as the energy that is being transferred
from the constructions workers to the sculpture, or it can be shown as a state of entropy.
Entropy is a form of energy, which tells us that energy cannot be created or destroyed but it
can be shown within a silent form of entropy, one object to another. “Entropy is a measure of
the degree of randomness or disorder of systems, explaining how life maintains a high degree
organisation.”[7]( Laws of Thermodynamics, 1992-2001)
In the first law of thermodynamics it states that “energy can be changed from one
form to another but cannot be created or destroyed”[7] (Laws of Thermodynamics, 1992-
2001). In this sense the energy being created is from the man power to the building of the
structure. The power being used is showing the transfer of energy that is already existent and
is not being destroyed because of the form that is being created; it is simply being transferred
to the energy and power shown though the design and construction. The power that this
sculpture brings is in many different forms, the first being the man power used to create the
form and the second being the status power it has gained during the constructive process.
This power has formed large media coverage of the design and construction process allowing
the cultural wealth of the piece to grow. The press coverage of this piece has contributed to
the overall anticipated energy of the Kelpies. This media attention has added to the visual
power of the sculpture as it has made their gastronomic form known throughout the different
ethnic cultures of the world. To increase the awareness of the addition of this installation in
Scotland miniature versions (10ft tall) where flown to America to promote the country, the
artist and the artwork. Gaining feedback on how the sculpture would be accepted worldwide,
“Scott told Haskell the sculpture is “a celebration of the working horses of Scotland and the
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Catherine Wilson Energy, Ecology and Modernity
role they played in building society.””[8]. The total feedback was generally positive with
comments like ““Absolutely beautiful,” said Anthony Lebron.
“I love this, I saw the pictures of the ones in Scotland which are 10 times as tall and I wish
we could fit them in Manhattan,” said Randy Carter. “It’s like public art everywhere, it just
reminds you to be human.”
“I think they’re beautiful, and I like the way they glisten in the sun,””[8] (CBS New York
report, 21/3/14).This feedback added to the energy of the whole installation as it increased the
suspense for the Kelpies to be opened to the public, creating an excited energy around the
whole project for both Scotland and its awaiting worldwide viewers. Visually the piece
imprints an emotion of great strength making their energy a powerful source. The Kelpies
horses can be seen form the M9 motorway and nearby canals for miles around increasing
their visual energy and therefore the overall power of the piece.
Entropy also gives an understanding of order and disorder. Order is an “improbable
arrangement of elements”[9](Rudolph Arhiem, 1974), which then gives the understanding of
how the elements can become an expression of disorder. Within these elements the 1:100
scaled sculpture will be tested to see whether the materials were resistant enough to withstand
the natural forces of nature. This controlled assessment has taken “place in Teddington. The
results will be used to determine what materials and methods [have been] used to fix and
support the structure.”[10] (BBC news report on the approved Ambitious Helix project,
16/3/2009). By testing the elements we are able to find that the energy that will be created to
produce the sculptures will be able to withstand the elements. This then proves that the
energy cannot be destroyed by natural forces, also proving that the entropy has been moved
from one form to another. What was not expected was that the natural elements would
enhance the artwork, through testing the artist discovered that steal was the most suitable
material to use to create the Kelpies. The panels of the sheet steal where then galvanised for
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extra element protection, however, this then allowed the panels to reflect the natural light
creating an atmosphere that no one predicted, thus emphasising the expression of disorder
and order of the elements. Eventually the weather will take its effect on the structure adding
to both the character and the entropy of the structures.
Power is present within energy and wealth; this can be shown in the structure of
Kelpies as the conjoining of all three is what makes its experience hauntingly powerful.
The Online Oxford Dictionary names many descriptions of the word power; power as social
authority or control, a person or organization that is strong or influential within a particular
context and the physical strength and force exerted by something or someone. [11] (Oxford
Dictionary, 2014). In this sense the two Kelpie Horse sculptures embody the world power in
more ways than one, not only is it structurally powerful as it can withstand the natural forces
but also in the sense that it is now the tallest piece of public art in the United Kingdom
giving it status power as artwork. This links in with the public wealth of the artwork, as
although it has cost a large sum of money to create, its status will internationally draw people
to visit it, heightening local economy and creating power through its highly influential wealth
and history.
Walter De Maria explains that “art is an experience not just an image”[12] He states
that “art is nothing compared to nature – a painting compared to the Grand Cannon looks like
nothing”[12]. Walter De Maria wanted to embrace the energy and power of nature and bring
that into art, stating “if people in a gallery could just feel an earthquake”[12] (Walter De
Maria “Lighting Fields” 1977). De Maria was introducing the idea of Land Art as we know it
now, by allowing nature to add to your art you instantly adds a new level of majestic power
to the form. Although Andy Scott’s sculptures are graphic in design, they are based on
natural animals and the sculptures themselves allow nature to project different emotions on to
them through the reflection of natural light. This projection of light adds to the energy of the
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Catherine Wilson Energy, Ecology and Modernity
piece as the sculptures will look different at first light in the morning compared to later on
that evening, showing how the mood of the structure can be changed depending on the
weather. This adds to the power and entropy of the Kelpies as unlike a painting in a gallery it
will change throughout the day, changing how each viewer interrupts it. The Kelpies can be
seen for miles around so it interacts with its viewers, whether it is on their drive to work or if
curiosity gets the better of them and they choose to go and interact with the piece. As of next
spring the Kelpies will be open to the public including a visitor’s centre along with the plans
to add a new canal extension linking the Forth and Clyde canals with the North Sea to
increase the boating traffic in the surrounding area around the Kelpies. This extra traffic
around the sculptures will hopefully create more conversation surrounding the origins of the
piece. Creating more local knowledge and giving more power to the people.
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Catherine Wilson Energy, Ecology and Modernity
In conclusion the Kelpies horse sculpture embodies energy, wealth and power as all
three are interlinked and inter-reliant. The wealth of the art is not only just in its materialistic
sense of the cost of the structure but also in what it will give back to the local community and
economy. Likewise in history of both the Scottish folklore and the industrialism of Scotland
the sculpture brings a wealth of historical culture, which will be presented to the public
through the conjoining visitors centre. Interconnected with this is the fact that in giving back
to the local economy the sculpture also holds power and energy, through the jobs that it has
provided.
The energy shown between the labour of the construction workers, planners and
technicians in the production of the artwork, this means that the entropy of the structure will
never be lost, as it has been changed from one form to another. The energy is also produced
in the form of the media attention this art work has been receiving, by creating anticipation
and excitement around the opening of the sculpture to the public next spring. This press
attention relates to the cultural wealth of Andy Scott’s piece of artwork and also brings in the
idea of power in the media.
The power of the Kelpies is shown in all of the above aspects as the materialistic
wealth of the project allowed the sculpture to be created, while the wealth of Scottish history
allowed Andy Scott to create an impressive and relatable sculpture that Scotland can be proud
of. The energy the construction workers have put in over the last 3 years has allowed the
creation of an outstanding piece of art work that creates a powerful artist experience. The
energy that the media has created will add to the public wealth of the structure and, therefore,
the cultural power the Kelpies hold. The power of the Kelpies is also in the overall
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Catherine Wilson Energy, Ecology and Modernity
experience of the sculpture as they portray a strong and powerful stance of both the horses
positioning and also the materials used to create them.
Finally the energy, power and wealth created in the work of the Kelpies are what form
this gastronomic and impressive art piece. Together they are the life blood of a piece of art
which can represent so much history and allow it to stand the test of time both physically and
creatively.
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Catherine Wilson Energy, Ecology and Modernity
Bibliography
1. Quote from the local authority leader of the beginning of the Helix project, Linda
Gow, from the BBC news website report on 16 of march 2009
(http://news.bbc.co.uk/1/hi/scotland/tayside_and_central/7946183.stm )
2. Collins English Dictionary definition of the word ‘Kelpie’. 2014 Edition.
3. Quote from Andy Scotts personal statement on his website November 2013
(http://www.thekelpies.co.uk/story )
- Equus Magnus Latin definition - equus : horse, steed, mount
- magnus : large, great, important.
Definition from the Latin dictionary
(http://www.thebookmarkshop.com/latin/latindictionary.htm )
4. Quote from Steve Dunlop, Scottish director of British Waterways, BBC news report
14 November 2007
(http://news.bbc.co.uk/1/hi/scotland/tayside_and_central/7094084.stm )
5. Quote from BBC news report on the Completion of the Kelpies Horse Sculpture on
the 27th of November 2013
(http://www.bbc.co.uk/news/uk-scotland-tayside-central-25124730 )
6. Quote from Andy Scott on a BBC Documentary on November 2013
(http://www.bbc.co.uk/news/uk-scotland-tayside-central-25124730 )
7. Quotes from the Laws of Thermodynamics, 1992-2001, last modified on the 18th of
May 2010
(http://www2.estrellamountain.edu/faculty/farabee/biobk/biobookener1.html )
8. Quotes from the CBS New York report on the 10ft Kelpies in America, 21/3/2014
(http://newyork.cbslocal.com/2014/03/21/horse-sculptures-by-scottish-artist-arrive-
in-bryant-park-for-tartan-week/ )
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9. Rudolph Arhiem 1974, Entropy and Art-An essay on disorder and order.
University of California press, first edition, p14-15.
10. Quote from the BBC news report on the approved Ambitious Helix project, 16 March
2009
(http://news.bbc.co.uk/1/hi/scotland/tayside_and_central/7946183.stm )
11. Definition of the word Power from the Online Oxford Dictionary, 2014 Oxford
University Press
(http://www.oxforddictionaries.com/definition/english/power )
12. Walter De Maria “Lighting Field”, 1977, From seminar notes.
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Reading List
Marc Alexander, British Folklore. New York: Crescent Books, 1982
Rudolph Arhiem 1974, Entropy and Art-An essay on disorder and order.
University of California press, first edition, p10-15.
Walter Gropius, The Theory and Organization of the Bauhaus, 1923.
Robert Smithson, A Sedimentation of the Mind: Earth Projects, in Jack Flam, editor
Robert Smithson, The Collected Writings, Berkeley and London, The University of
California Press, 1996, p100-133.
- The making of the 10ft scaled Kelpies,
- The inspiration behind the use of the Shire horse models
- The 10ft scaled sculpture beside the Shire horses it was
modelled on
All images from Andy Scott’s website, November 1013.
(http://www.thekelpies.co.uk/story )
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