| Personnel: Jo-Ann Lizio , MA, Fine Artist: Design and Execution Recent Citations and Media References About the Collection Please log on again from time to time since we frequently update the display of works and exhibit information. |
| The first powered flight by the Wright brothers was a primary technical highlight of the 20th century, and an historic milestone of our second millennium. The Flight Centennial Collection celebrates the anniversary of the Wright brother's achievement, which falls on Wednesday, December 17, 2003. |
 Detail of Clark Y Study II |
| The Flight Centennial Collection is part of a 5-year project, begun in 1999, to link art with aviation technology. The opportunity to identify and understand these pieces through discussions with certificated mechanics and restorers helped develop an appreciation of the work of engineers, designers and fabricators in the aircraft industry, and catalyzed the collaboration of art and technology. |
 Most aviation art is literal. It depicts realistic aircraft in realistic contexts. The works of the Flight Centennial Collection are unique and timely as we enter our second century of flight. They are non-representational, and elicit the emotion of flight by combining art and technology in such ways as to give viewers just enough sense of flight to set their imaginations free. The flights thus generated are meaningful and transcendent.
The works pay homage to the memories, records, fragments, fleeting moments and experiences of flight over the last century. They include the unique color, line and form developed through subtle abrasions and weathering of the surfaces and interiors of airplanes that have moved through the atmosphere. These movements transform the plane. Worn parts may be replaced, but these parts are now integral to some of the compositions in the Flight Centennial Collection, thus enabling them to take flight again in a different form in the hands of the artist. With the Collection, the artist takes viewers on a fantasy journey by involving them with the materials, processes and beauty of the machines we call airplanes. Assemblage techniques give a sense of the three-dimensionality of flight. And the exclusive use of vintage and modern aviation parts, approved fabrics and pigments, and generally accepted fabrication techniques, extends technology into the art. The result is a metaphoric wholeness quite above any standard. From DaVinci's 16th century drawings of a flying machine with flapping wings, artists have always been fascinated with flying. The Collection work abstracts physical structures required to exploit and control the basic principle of Bernoulli. The movement of aircraft in their element is similar to many of the processes of 20th century expressionistic artists, such as Jackson Pollock, where movement of pigment on canvas is the process recorded. In the Collection, curves, holes, surfaces and forms of real airplane parts and materials are used to create the symmetry and appeal of flight machines. The essence of these is then "pushed" with various crayons, greens and yellows of anti-corrosion pigments, and with a limited palette of artist oils and aviation-grade polyurethane paints. Because the works of the Collection are made of aviation-grade materials, assembled using standard aviation fabrication techniques, they qualify as "archival" (lasting 100 years or more), as commonly defined in the art community. It is very possible, given reasonable care, these works will be around to celebrate the bicentennial of flight. |
 Detail of Aerogenesis |
"I was interested in the corrosion-resistant green and yellow, and the different surfaces created on the metal from flight and use. The challenge of such a limited palette was very appealing to me. This prompted me to find out more about the metal, pigment and construction of the aircraft. I chose to use the actual pieces of the aircraft in an assemblage manner rather than represent these pieces in a traditional oil or acrylic painting on canvas or paper." "As an artist and a creative problem solver, I enjoy the challenge of a design problem: for instance a size limitation, or limited palette. " "The opportunity to have these raw materials in my studio, to work and manipulate into a composition on aviation aluminum and aviation fabric, is an energizing experience similar to my brush on a new white canvas or paper." "The project is an opportunity to use new and different media, applied to abstract compositions, and finally add my own painter's interaction using aviation pigments." "The construction methods gave me a chance to learn new fabrication techniques used in aviation rather than methods common to the fine art metal sculpture or found-object solutions." Mr. Hyatt says: "Even though I fabricated the pieces and watched them develop step-by-step and day-by-day, still I can join with their inherent motion and "fly" with them. I think the Collection has great appeal for aviators and non-aviators alike."
Ms. Lizio says:
"As an artist, rather than respond to the historical significance of aircraft, I responded to the forms and colors of whole and disassembled airplanes, which Gary introduced to me. I chose to abstract these elements to my work, rather than produce traditional, literal representations."
"This collaboration between an artist and a technologist is an eye-opener for me. When you put a 'classical', scientific thinker together with a 'romantic', artistic thinker, interesting discussions and synergies are bound to happen. I know Jo-Ann sees airplanes differently now, and I certainly appreciate more the motivations and viewpoints of abstract artists."
HOW DO I CONTACT THE COLLECTION? US Mail: Large, Fabricated Series: Assemblage, predominantly of metal. Components may be intact or not (i.e. corroded or damaged in some interesting way). Aviation-grade fasteners and techniques used in fabrication.. Large, Combine Series: Assemblage, predominantly of mixed components, not necessarily from the same kind of aircraft. Combinations of textures and forms (fabrics, metals, electronics) and pigment. Large, Fabric Skin Series: Predominantly works rendered on large sheets of medium-weight aircraft fabric through use of frottage techniques with or without pigment enhancement. Small, Assemblage Series: Predominantly of smaller aircraft parts and aviation-related elements, including fabrics, aeronautic charting, fittings and electronics. Some may operate in interesting ways. Open Sky Series: Predominantly pigment works on aircraft fabrics motivated by the movement of aircraft through the air. Inspired, in part, by aerobatic geometries and the effects of high-altitude air currents on contrails. Heavenly Body Series: Abstract, mixed media works, steeped in aviation metaphor and mystery. Photographic Series: Generally small pieces, focused on a photographic sketch, some enhanced with pigment. Limited editions of 50. Contact us directly by email or phone with your needs. Standard methods of payment are available.
FREQUENTLY ASKED QUESTIONS
Flight Centennial Studio
P. O. Box 111672, Naples, FL 34108
HOW MUCH DO THE WORKS COST?
Prices of the works begin at $150. Costs vary depending upon size, character of vintage elements, labor to produce, framing, and other factors. For example, framed, signed, one-of-a-kind or limited edition photographic sketches lie on the low end of the cost scale. Whereas larger works of metal and fabric that require special techniques or handling are more costly. All prices offered through the Flight Centennial Studio are "artist's prices", and would be expected to be higher if the work was purchased through a gallery.
HOW LARGE ARE THE WORKS?
Sizes of the works range from 12 by 12 inches, to large, free-hanging pieces on aviation fabric that may be 6 feet wide and 12 feet high or larger. Works can be commissioned to fit an existing space.
WHAT KINDS OF WORKS ARE AVAILABLE?
Several areas of expression have been approached, summarized as follows.
HOW DO I COMMISSION A WORK?
Contact the Flight Centennial Studio through one of the methods above to discuss your needs. A commission contract will be developed before work begins, clarifying size, materials, costs, copyright and delivery schedule. A study or studies (or maquettes) may be made before final work begins. The key word is "flexibility".
HOW DO I BUY A WORK?
WHERE CAN I SEE THE COLLECTION?
Many works are on exhibit in Naples, Florida at the studio, and at other venues. Please contact the studio at the phone listed above for current information.
Representative works are also available on the website at http://contemporaryflightart.com/portfolio.html.
Recent Citations and Media References to The Flight Centennial Collection
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