Galaxy Exploration in Rubber and Polymer: Mierle Laderman Ukeles

Mierle Laderman Ukeles has created numerous works of public art that address waste, urban maintenance, and recycling. Her interests have led to extensive artistic projects at landfills and reclaimed dumpsites.

Mierle began her multi-faceted project, Turnaround Surround, in 1990. Located at Danehy Park, a former 55-acre dumpsite in Cambridge, Turnaround Surround began with a half-mile long glassphalt path made of 10 tons of recycled stained glass scrap, recycled mirror, and 22 tons of recycled glass collected in the City’s first recycling effort, including donations from local school children. This path leads to the park’s uppermost elevation, the City’s highest land form. Turnaround Surround also includes plantings of “smellers and wavers”, two aluminum sculptural thrones, and two circular dance floors at the top of the hill.

Material choice

One of the 24-foot diameter dance floors is entitled Galaxy, which Mierle designed from a radio telescope image taken by an astrophysicist at MIT. The artist enlarged the telescopic image into a 24-foot photograph, separated it into 65 sections, and with her team of assistants translated it into an image made out of recycled rubber.

True to her use of recycled materials in dumpsite reclamation projects, Mierle used recycled rubber granules to make the colorful dance floor. The materials she chose are more commonly used to make outdoor tennis courts and running tracks (such as the one at the park).

Working with two companies, California Products Incorporated and Cape & Island Tennis & Track, which manufacture the rubber used in monochrome running tracks, Mierle experimented with a pre-consumer waste rubber track material. The Cambridge Arts Council encouraged Mierle to explore the range of possibilities with her artwork. In 2002 Mierle and her assistants installed Galaxy. To our knowledge these particular materials and techniques have never been used before in a public artwork.

Scientific analysis of materials

Prepared samples were placed in a Nicolet 510P FTIR microspectrometer with an attached Nic-Plan infrared microscope at the Scientific Research Lab at the Museum of Fine Arts, Boston and analyzed by conservation scientists. Organic materials containing carbon-hydrogen and carbon-oxygen bonds have distinct vibration frequencies in the infrared region, and the resulting spectrum indicates absorption bands that are then compared to known materials (referred to as a "library" of materials). The characterization is done by matching the spectra of the material in question to the spectrum available in the known library.

FTIR spectrum: the black granules

In this FTIR spectrum from an analysis carried out by the Museum of Fine Arts, Boston Scientific Research Laboratory, the black granules closely compare to a rubber product: SBR styrene butadiene rubber. The black granules are recycled rubber with some calcite (crystalline calcium carbonate, or chalk) added as filler.

FTIR spectrum: the colored granules

This second FTIR spectrum, of the colored granules, is very different than the first. The blue, purple and aqua granules compare to a polyethylene/polypropylene, and are confirmed by the manufacturer to be EPDM, an ethylene propylene diene monomer. The black granules are made from recycled material, and are too dark to be colored. The EPDM granules, however, are peroxide cured and can be tinted to a variety of bright colors.

FTIR spectrum: the surface coating

Instead of the more usual binder used to make rubber running tracks (a tinted latex product requiring mixing with the granules and application by trowel), Mierle chose California Products' Plexipave ®Plexi-Trac Lock-up, described as a clear, water-based, non-toxic acrylic emulsion more often used as a final or replenishable coating for running tracks. The aqueous liquid was applied by spray after the granules were sprinkled on by hand.

A dried film of the Plexi-Trac Lock-up analyzed by FTIR produced an infrared spectrum corresponding to hydroxy ethyl cellulose, a bulking agent present in some adhesives and coatings. No acrylic was identified, probably due to separation of the material while in the storage drum. The bulking agent helps fill the gaps between the irregularly shaped granules.

What has happened on-site?

The Plexi-Trac Lock-Up appears to be more cohesive (meaning it sticks well to itself) than adhesive, and in some areas the sprinkled granules have become detached. Some maintenance, overseen by the artist, has been carried out to replenish the granules. Graffiti tags and some localized burning have also caused deterioration, requiring repair.

Prognosis and continuing questions

The Cambridge Arts Council fully supported the artist as she explored and pushed the limits of this unusual public art material. The technique resulted in a material compromise, as the top granules did not adhere well and have had to be replaced. Subsequent graffiti and vandalism have also caused damage and loss.

Is this a material failure? We do not see it that way, because for some public art projects experimentation is as vital to the work as the concept, and a certain degree of risk is acceptable.

What does have priority? We continue this conversation. In the case of Galaxy, the artist's vision is not well served if the image deteriorates within months of application. We are seeking a long-term materials solution and mitigation of intentional damage. In the meantime we expect occasional repairs to be required.

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© Cambridge Arts Council 2002-2003