WM city officials offer update on status of tower art project

WM city officials offer update on status of tower art project

Work progressing, completion expected by year’s end

news@theeveningtimes.com

The forthcoming modern art sculpture based around the 1923 cotton compress water tower on the 500 block of East Broadway in West Memphis has proved daunting for designers.

Main Street West Memphis held its breath for a New Years Eve lighting of the soaring landmark to ring in 2018. The next hope was for the night lights to cast patriotic hues for an Independence Day unveiling.

Progress on the $240,000 modern art piece appeared stalled as city and Main Street West Memphis representatives answered media inquiries at the base of the water tower on Wednesday.

“The project is nearing completion and is scheduled to be finished by the end of the year,” said city spokesman Nick Coulter.

Concrete footings were poured in a bench shape beneath the tank soaring over head. Anchors for the vertical cables were bolted to the footings, but then worked stopped for redesigning by the artist-architect Randy Walker.

Ramona Taylor with the Main Street board explained the new planning and testing of the guy wire and led light sculpture. Suspending the guy wires to the new foundation presented challenges and the work stopped.

“You have to understand this is a one of a kind and first ever art piece,” said Taylor. “The artist began building a new proto-type.” Walker was scheduled to be in West Memphis in about a month with revised plans and a new construction time line. “We expect it to be done by year end,” said Coulter.

The water tower art will display a modern steel sculpture around the 95 year-old water tank despite the public misconception that the work will be a paint job. Coulter shared the artistic concept that the main street board bought into.

“Our hope is to make the tank not only noticeable but functional while maintaining its rustic nostalgia,” said Coulter. “Each evening after sunset the tower will light up the sky.”

By John Rech