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Lot Essay
Eco-Echo is a series of eight kinetic windmills produced from 1992 to 1993 by Robert Rauschenberg and Donald Saff. The windmills combine the technical prowess of Saff with the artistic vision of Rauschenberg, who integrated his aesthetic and intention into the ecologically conscious sculptures. Rauschenberg screen-printed and painted the windmill blades, constructed using salvaged commercial signs, while Saff served as both inspiration and fabricator to the concept. The partnership encompassed innovation, combining the ecological (eco) windmills with sonar (echo) sensors to stretch the boundaries of vision and creation.
The series began in 1992, when Saff approached Rauschenberg with the idea of collaborating on a project with windmills. Saff had worked closely with Rauschenberg in the past, acting as the Artistic Director of the Rauschenberg Overseas Culture Interchange (ROCI) in the 1980s. Though hesitant about the windmill project initially, Rauschenberg had recently returned from the United Nations Earth Summit on environment and development in Rio de Janeiro, and grew excited about the opportunity of incorporating energy conservation into what would become the Eco-Echo series. Rauschenberg’s vision was a windmill that reacted to the movement of the viewer, engaging in motion only when approached. From this, Saff designed a windmill with electronic components that utilized recycled materials such as industrial aluminum and a lead weight on the central component. Sonars were installed on the base of the windmills to initiate the movement of the blades when the viewer moved within a few feet of the sensors. The Eco-Echo windmills encompass Rauschenberg’s signature collage-like aesthetic with Saff’s creative engineering and pay homage to the artist’s intent of environmental consciousness.
The series began in 1992, when Saff approached Rauschenberg with the idea of collaborating on a project with windmills. Saff had worked closely with Rauschenberg in the past, acting as the Artistic Director of the Rauschenberg Overseas Culture Interchange (ROCI) in the 1980s. Though hesitant about the windmill project initially, Rauschenberg had recently returned from the United Nations Earth Summit on environment and development in Rio de Janeiro, and grew excited about the opportunity of incorporating energy conservation into what would become the Eco-Echo series. Rauschenberg’s vision was a windmill that reacted to the movement of the viewer, engaging in motion only when approached. From this, Saff designed a windmill with electronic components that utilized recycled materials such as industrial aluminum and a lead weight on the central component. Sonars were installed on the base of the windmills to initiate the movement of the blades when the viewer moved within a few feet of the sensors. The Eco-Echo windmills encompass Rauschenberg’s signature collage-like aesthetic with Saff’s creative engineering and pay homage to the artist’s intent of environmental consciousness.