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 Easterwood Airport is very fortunate to have two magnificent pieces of art on site - one indoor and one outdoor. Both sculptures were funded by the Arts Council of the Brazos Valley ().


Dmitri Koustov (), Sculptor

 Genesis, created by the Russian-born local artist Dmitri Koustov, is an imaginary portrayal of Earth’s beginning with sweeping shards of metal representing the tumultuous birth of the planet. At 14 feet high and 10 feet wide it is the largest stainless steel sculpture in the Brazos Valley.

 “Genesis represents the chaos and beauty of creation,” said Susan Lancaster, president of Arts Council of Brazos Valley. “This sculpture reminds us of Earth’s gifts and our responsibility to cherish them.”

 The idea of placing a sculpture that would represent the Earth at the airport first came from Easterwood director John Happ in 2002. More than 10 years later, Happ, also a College Station city councilman, has fulfilled his goal and said he is more than pleased with the result.

 “This is more than I ever imaged,” he said Monday after the dedication ceremony. “I’m honored to have it here as it will become a magnificent icon for the Research Valley. People coming and going from all around the globe will remember Easterwood because of this.”

(Courtesy of The Eagle, February 6, 2005)


Free Flight

Taeg Nishimoto, Sculptor

 Taeg Nishimoto's 100-piece Free Flight hovers above the ticket area and lobby at the Easterwood Airport in College Station, rendering flight in visual form.

 Nishimoto, an architecture professor at Texas A&M University, designed Free Flight to enliven Easterwood's utilitarian public spaces. Visible upon approach to the rather monolithic building and hanging just inside its glazing line, the multiple works of expanded stainless steel mesh refract sunlight throughout the day and at night reflect glints of interior lighting. Free Flight comprises a flock of oval shapes, assemblages of three to five pieces each, carefully bent to gentle curves and suspended by cables from the aluminum slat ceiling. The number of individual works represents the centennial of the Wright Brothers' inaugural flight.

 Installation of the long parade was achieved by adjusting the location point of the cables and making on-the-spot refinements. The form, the artist explains, is intrinsically related to the spontaneity of the process of fabrication and installation. With Free Flight and his other site-specific projects, Nishimoto pointedly preserves the ability to change his mind as each project comes into being, allowing for the particular materials and methods of construction to influence his direction as well. His projects, as a result, demonstrate a hands-on quality. A second pair of hands helped to construct Free Flight, those of Dave Sellers, a graduate of A&M's environmental design program, who was fully involved in the fabrication and installation of its elements.

(Courtesy of Lars Stanley, AIA, and Lauren Woodward)

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