Christo and Jeanne-Claude Bulgarian/French, 1935-2020/2009
Surrounded Islands (Project for Biscayne Bay, Greater Miami, Florida), 1982
pencil, charcoal, pastel, wax crayon, enamel paint, aerial photograph and fabric sample
Overall: 57 x 96 in. / 144.8 x 243 cm
Top: 15 x 96 in. / 38 x 243.8 cm
Bottom: 42 x 96 in. / 106.7 x 243.8 cm
Top: 15 x 96 in. / 38 x 243.8 cm
Bottom: 42 x 96 in. / 106.7 x 243.8 cm
Copyright The Artist
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“As with every true work of art, it has absolutely no purpose whatsoever: it is not a message, it is not a symbol, it is only a work of art....
“As with every true work of art, it has absolutely no purpose whatsoever: it is not a message, it is not a symbol, it is only a work of art. And like every true artist, we create those works of art for us and our collaborators.” - Christo
Best remembered in the public’s mind for wrapping architecture and natural elements in fabric, Christo’s works were often unprecedented in scale, such as The Gates in New York’s Central Park, Running Fence down the California coast, Wrapped Coast in Australia, and Surrounded Islands in Miami. Part of France’s Nouveau Réalisme movement, the artist’s temporary textile interventions required dedicated planning and execution through detailed preparatory drawings. “We wish to create works of art, works of joy and of beauty,” Jeanne-Claude once said of the work.
Drawings
Surrounded Islands, 1980 – 1983
“Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain." – Christo
In May of 1983, Christo and Jeanne-Claude encircled 11 manmade uninhabited islands in Miami’s Biscayne Bay with 6.5 million square feet of floating, pink, woven polypropylene fabric. For just under two weeks, the results harmonized with water, sky, and foliage, creating a vivid composition in blue, green, pink, and turquoise. Over three years, 430 workers including attorneys, marine biologists, ornithologists, mammal experts, marine engineers, and builder-contractors worked on the preparation of the Surrounded Islands.
Christo’s collaged and annotated drawings were an essential component to realize his large-scale projects. They provided his collaborators with planned concept, instruction, and aesthetic. His mixed media works on paper provided the financial sustainability of each installation. Surrounded Islands, like all of his work, did not take any form of sponsorship and was solely funded by his preparatory artworks.
Best remembered in the public’s mind for wrapping architecture and natural elements in fabric, Christo’s works were often unprecedented in scale, such as The Gates in New York’s Central Park, Running Fence down the California coast, Wrapped Coast in Australia, and Surrounded Islands in Miami. Part of France’s Nouveau Réalisme movement, the artist’s temporary textile interventions required dedicated planning and execution through detailed preparatory drawings. “We wish to create works of art, works of joy and of beauty,” Jeanne-Claude once said of the work.
Drawings
Surrounded Islands, 1980 – 1983
“Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain." – Christo
In May of 1983, Christo and Jeanne-Claude encircled 11 manmade uninhabited islands in Miami’s Biscayne Bay with 6.5 million square feet of floating, pink, woven polypropylene fabric. For just under two weeks, the results harmonized with water, sky, and foliage, creating a vivid composition in blue, green, pink, and turquoise. Over three years, 430 workers including attorneys, marine biologists, ornithologists, mammal experts, marine engineers, and builder-contractors worked on the preparation of the Surrounded Islands.
Christo’s collaged and annotated drawings were an essential component to realize his large-scale projects. They provided his collaborators with planned concept, instruction, and aesthetic. His mixed media works on paper provided the financial sustainability of each installation. Surrounded Islands, like all of his work, did not take any form of sponsorship and was solely funded by his preparatory artworks.