Angst-free public art

French artist to install Durham project

DURHAM -- It's the city's most ambitious public art project to date, with an internationally known artist flying in to enliven downtown and maybe even shape its identity. But this is not Raleigh, where Spanish artist Jaume Plensa's highly publicized design for an art plaza has hit logistical roadblocks and may be scrapped. This is Durham, where one couple has steered an idea into existence -- and created a community arts phenomenon.

Ellen Cassilly and Frank Konhaus, whose chief passions are revitalizing downtown Durham and collecting contemporary photography, have lured French artist Georges Rousse to create his signature trompe l'oeil installations in four Durham buildings.

"Even the word 'commissioning' sounds kind of lofty," Konhaus said. "We just kind of phoned him up and asked if he would be interested in this project."

For three weeks in September, Rousse will create temporary work for four sites, all of which are about to be renovated. Rousse works only in places that are soon to be torn down or remodeled, and his own installations are just as much about transformation and rebirth.

Rousse carves through drywall as if it's butter, molds space like putty and conjures potent, pure colors as if out of thin air. From most angles, his installations look like a mess. From just the right vantage, though, they resolve into perfect harmony. A giant green circle fills a room, or text hovers in a tunnel, or a ring of fire seems to float over a lake.

The art world is often accused of being insular and elitist, but Durham's project is almost shockingly democratic. The project includes 100 volunteers, many of them taking off work to pitch in, and two documentary filmmakers. There are no government funds, no grants, no local arts group contributions. Individual donors chipped in as little as $50 each to cover the $25,000 cost. Of that, Rousse's fee is 5,000 euros, or about $6,400; he makes most of his money by selling photography of the finished installation. The rest will pay for supplies and incidentals.

Cassilly, an architect, and Konhaus, an audiovisual systems designer, are so comfortable with how everything's working that they went hiking last week in the Canadian Rockies.

Lots of helping hands

"I suppose if the community didn't respond, we wouldn't have done it," Konhaus said. "The reality is that if this project hadn't come together with funding, then it wouldn't have happened."

Consider this abbreviated roll call of supporters.

When Rousse visited Durham to consider sites, the downtown Marriott donated his room. John Warasila and Vandana Dake of Alliance Architecture donated money and also provided a Rigsbee Avenue apartment for Rousse and his wife, Anne Marie, for their entire stay. Giorgios Bakatsias, whose restaurant empire was founded in Durham, offered to cater volunteer lunches for free during the entire installation.

The Nasher Museum of Art at Duke University, where Konhaus is a board member, offered its auditorium for a lecture. The French department at Duke University is providing translators who can work all day beside the artist. Branch Gallery held a fundraiser; three gallery artists will help with painting.

Allen Thomas Jr., the contemporary photography lover whose collection was displayed at the N.C. Museum of Art last year, wrote a check. So did Nasher director Kimerly Rorschach, from her own pocket.

Given how accessible the artwork is to all ages, it made sense to talk to schoolteachers. At their annual meeting downtown last week, all the public school art teachers in Durham got tips on how to tie the project to their curriculum, whether the topic is art history, Durham history, urban planning, or the concept of visual perspective.