The grounds of Ashland: The Henry Clay Estate have long been a popular destination for neighborhood walks, photo shoots and out-of-state guests, but this year visitors can also enjoy several public art installations.
Jim Clark, executive director of the Henry Clay Memorial Foundation, which owns and operates the estate, has spearheaded the introduction of public art onto the historic Chevy Chase property. As former president and CEO of LexArts and executive director and curator of the Public Art Fund in New York City, Clark brings a longstanding interest in public art and years of experience managing public art projects .
“I’ve always been interested in art in the landscape and how introducing artwork or architectural elements into nature reframes the viewer’s experience and awakens the people’s visual senses,” Clark explained.
A little more than a year ago, he approached the University of Kentucky’s College of Design about exploring the idea of incorporating architectural follies on the property. Follies – structures constructed primarily for decoration, with no practical purpose – were popular in the 18th and 19th centuries when the Henry Clay Estate was built.
"Indefinite Kindred,” an architectural folly designed and fabricated by a team from the University of Kentucky College of Design, was installed at the estate in 2018. It’s one of several public art installations that are either on the estate’s grounds or planned for them. Photo furnished.
The UK School of Architecture’s Design and Fabrication Summer Studio created a contemporary folly titled “Indefinite Kindred” by transforming typical two-by-fours into cross-laminated timber panels.
According to UK College of Design instructor Brian Richter, the structure challenged conventional applications of dimensional lumber and sheathing to create a dynamic space for enjoying Ashland’s historic landscape.
“Digital technologies, procedures and fabrication techniques allowed us to ensure precision and complexity in constructing the folly,” Richter explained.
This piece of public art is temporary and will be removed when it finds a new home. Clark hopes to auction off the piece and split the proceeds with the School of Architecture so they can create another one. The wooden folly is just one of a handful of art installations in the works or already on the property.
Thanks to a recent grant from the city’s Corridors Commission, which partners with neighborhoods and other community-based groups to enhance the corridors leading into and out of Lexington, local artist Kiptoo Tarus is transforming an existing tree stump on the grounds into a work of art.
Known for his large-scale wood sculptures, Tarus “uses the canvas nature leaves behind to derive the beauty from within,” said Lexington’s Fifth District Councilman Bill Farmer, who chairs the commission.
The Kenyan-born artist approached Clark after helping remove a felled limb from an old black maple on the property and expressed his interest in giving the stump new life as a sculpture.
Visitors and passersby are encouraged to come watch Tarus in action on the corner of Richmond and Sycamore roads. If the weather cooperates, he should finish by the end of the year.
Tarus’ work transforming the stump will allow Ashland’s visitors to engage in a larger conversation about the life cycle of trees and use art as a way to learn more about the natural world.
It’s not the first time in recent history the Ashland staff has taken a creative spin on a fallen tree. In the fall, after a fallen spruce tree was cut into smaller sections to be carted away from the property, Clark and a colleague opted to repurpose the two-foot stumps into a storytelling circle for children.
Also on the docket for the near future – weather dependent as well – is the installation of a collection of monumental metal sculptures by Lexington-born, nationally renowned artist John Henry. Henry has created some of the largest metal sculptures in the United States, and these pieces will be the first of their kind here in Lexington. Henry currently has a small sculpture displayed on the grounds of the Lexington Art League as well.
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"La Tour" is one of three sculptures by John Henry to be installed on the grounds of Ashland: The Henry Clay Estate. Photo furnished.
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"Publisher" by John Henry is among the sculptures to be installed on the grounds of Ashland: The Henry Clay Estate. Photo furnished.
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"Roucher Du Diamont" is among the sculptures by John Henry to be installed on the grounds of Ashland: Henry Clay Estate. Photo furnished.
Henry is best known for his monumental, welded sculptures that resemble larger-than-life versions of a simple game of pick-up sticks. The linear and rectilinear steel elements of his work often appear to defy gravity, gently tumbling over one another with a delicate sense of balance despite their size.
The Ashland installation will consist of three large-scale sculptures, the largest of which measures 70 feet tall and weighs 41,000 pounds. The sculptures, built in 1980, 2010 and 2012, will be strategically placed throughout the grounds for a temporary, undetermined period.
Although there are not any concrete plans for additional art installations, Clark said he hopes to be approached by more artists interested in highlighting the connection between art and nature. While the foundation has no trouble getting out-of-state visitors to Ashland, he hopes the recent installations will help give Lexingtonians an intriguing reason to revisit the property, take another tour and shop in the museum store.
“People may not be able to tell you exactly why they like a place – they just get a feeling from it,” Clark explained. “That’s something I’m trying to play out here at Ashland.”