Archive: public art
Controversial sculpture cut into 3 pieces after heated debate

Controversial sculpture cut into 3 pieces after heated debate

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York

Richard Serra is a leading sculptor who is known for creating minimalist artwork. While he began his career after studying fine arts at Yale University, he created the sculpture Tilted Arc in 1981 New York after celebrating his fortieth birthday. By this time he was already highly recognized and this is one of the reasons so much attention has been given to what became of the Titled Arc, an artwork that was intended to grace the Foley Federal Plaza for a long time would be relocated in 1989 after it became the subject of a heated debate.

The Tilted Arc was commissioned by the United States General Services Administration (GSA) and from Serra’s own assessment, he had purposed for it to be placed at the Foley Federal Plaza in front of the Jacob K. Javits Federal Building in Lower Manhattan.

Built to stand at 3.7m high and spanning 38m long, the unique feature of the tilted arc was its lean to one side. It would have been a permanent addition to this busy part of the city had the administration taken time to prepare the people before its arrival. To the office workers, the artwork appeared to them as ugly and oppressive, an obstacle which had the potential to catch graffiti. Outright protests began to have it pulled down or transferred when two petitions gathered a total of 1,300 signatures. Since the GSA had commissioned the work and thought it was good at the particular area, they stood by their decision arguing that 1,300 signatures against a local population of 10,000 was not enough to influence their decision.

This strong position would be later overturned when a new mayor was installed in 1984; over a hearing that lasted 3 days and with the new mayor as the leader of the adjudicating panel. Richard Serra also spoke at the hearing, maintaining his position that the arc was built purposefully for that location and moving it from there would destroy it. 122 speakers were in favor of the arc while slightly over 50 were against it. Even when Serra sued the court, it was passed that the arc would be destroyed on order and the remains taken by Serra if he wished.

The artwork was removed in 1989, the Tilted Arc was dislodged from the ground and cut into 3 pieces. Today, the spot on which the arc stood has been replaced by landscape architectural components to liven up the place.

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York, Photo Frank Martin/BIPs/Getty Images
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York
Photo: Frank Martin/BIPs/Getty Images

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York
Photo: Elizabeth Sasser

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York
Photo: Elizabeth Sasser

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York

Richard Serra - Tilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in lower Manhattan, New York
Richard SerraTilted Arc, 1981, COR-TEN steel, 37m long, 3.7m tall, 6.4cm thick, Federal Plaza in Lower Manhattan, New York


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Colorful artworks: Designed to be walked over

Colorful artworks: Designed to be walked over

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain detail
Joan MiróWall of the Barcelona Airport (detail), 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

If you have ever been to Barcelona, you must have walked over one of Joan Miro’s mosaics. The artist began to publicly display his work in 1976 when he chose the centre of Barcelona’s Rambla to permanently incorporate his work into a pavement. This was in fulfilment of a pledge he had made in 1968 to create four pieces of art which he would donate to the city of Barcelona where he was born. The use of different colors in the mosaic brings out the vibrancy that is his style of art. All the artwork that is associated with Joan Miró speaks the language of simplicity; generous use of color and simple shapes. More than four decades after his first outdoor work of art, the works of Joan Miró located in various parts of the world are enjoying facelifts of massive proportions.

For those who grew up in Wichita or attended the Wichita State University campus, the past is reclaiming its space. The mosaic which was made in France was shipped to the United States in 1978. When the restoration was handed over to a conservation service, their focus was to not only restore the original glamor but also retain the integrity of the artwork. Since the piece was an outdoor structure, it disintegrated due to high winds, lightning, thunder, and fluctuating temperatures.

Another notable Miró mosaic is located at the Barcelona Airport, Terminal 2. It is easy to spot because it is inevitably the first thing travellers step on when they get off from a flight. This is a great orientation to visitors coming to the city for the first time and rightfully so because the large mural made up of ceramic pieces is at the entry point to the city. The airport mural which measures 9 metres in length and 5 metres in width was completed in 1970. A ceramicist friend of Joan known as Josep Llorens Artigas, who he had collaborated with on various projects in the 1960s helped him to put the mural together. Joan would spend a lot of his time to create the robust mosaic but some unexpected details occurred at the kiln which fascinated the two friends. It is such details that take a lot of time to preserve that have made facelifts of the various art pieces rather time consuming. The airport mural for instance took a record 9 years to restore but the outcome is worth every second spend.

The third of the four donations dedicated to the city of Barcelona is the Pla de l’Os Mosaic which is a symbol that ushers in visitors coming into Barcelona through the sea. The mosaic, in line with the style of the artist comprises of circular forms to represent the cosmos and depicts entry into the city through the sea. Similar to his other works which have lots of colors and shapes, this mosaic situated at the seaport is made up of round shapes in bright colors. The mosaic was commissioned and installed in 1976.

The Woman and Bird statue is the last work of art done by Miró in the series which he had purposed to act as a welcome to travellers arriving into Barcelona. This particular artwork is to be found in the main train station in Barcelona and was unveiled in 1983.

Apart from the Woman and Bird statue, all the other works of the artist were designed to be walked over in public places. This did not at all bother the artist, in fact, the reality that it would undergo faster wear and tear and thus be restored regularly, could have been inspiring to him.

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain
Joan MiróWall of the Barcelona Airport, 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

Joan Miró - 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain
Joan MiróWall of the Barcelona Airport, 1970, earthenware, 10x50m, Terminal B, El Prat Airport, Barcelona, Spain

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Bridging cultures with influential sculptures & furniture

Bridging cultures with influential sculptures & furniture

Isamu Noguchi - Red Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA 1

Isamu Noguchi - Red Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA 1
Isamu NoguchiRed Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA

A walk through Japan reveals the close correlation between nature and aesthetics. Amid the natural setup are works of art that remind everyone about the history, beliefs and affiliations of the Japanese people. The modern art concept of creating spectacular pieces to create an art park is becoming rather common owing to the pioneer work of artists like Isamu Noguchi. Having been an artist for 60 years, he has helped shape the aesthetic and cultural appearance of Japan and the US through the creation of sculpture parks. Even in death, Noguchi is still recognized for his artwork on furniture, gardens, ceramics and architecture. Although considered subtle and bold during his time, his work is now the standard for modern and expressionist art.

Owing to his mixed heritage, Isamu Noguchi was an internationalist and it is during his travels that he picked up the inspiration to express himself in sculptures. His inspiration for large scale sculpture works with a story actually came from Mexico. He would then incorporate Japanese tranquil garden and earthy ceramic setup as well as the Chinese light ink brushing technique into his work. As one would imagine, what he created from bringing together these different aspects was epic creativity. Once he had settled in his trade, he would maintain studios in New York and Japan, perhaps to declare allegiance to his roots. The works of Isamu Noguchi are evidently aimed at enhancing harmony in human coexistence. The blend of Western and Eastern cultures, modern and traditional life, organic and geometric alignment of nature are some of the efforts Isamu Noguchi made to create tranquility in his work.

Isamu Noguchi - Red Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA 2
Isamu NoguchiRed Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA

Isamu Noguchi - Red Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA 3
Isamu NoguchiRed Cube Sculpture, 1968, 140 Broadway Between Cedar and Liberty Streets, Financial District in Lower Manhattan, New York, USA

Isamu Noguchi - Octetra, High Museum of Art, Atlanta, USA
Isamu NoguchiOctetra, High Museum of Art, Atlanta, USA

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Attractive & repulsive – Detailed models of cathedral-like trucks

Attractive & repulsive – Detailed models of cathedral-like trucks

Wim Delvoye - Caterpillar nr. 5, Beaufort Triennial, Middelkerke, Westende, Belgium

Wim Delvoye - Caterpillar nr. 5, Beaufort Triennial, Middelkerke, Westende, Belgium
Wim DelvoyeCaterpillar nr. 5, at Beaufort Triennial, Middelkerke, Westende, Belgium

Wim Delvoye is a neo-conceptual artist that is well known for his innovative and sometimes out-of-the-box projects. He connects the attractive and the repulsive in an effortless way, creating works that are inherent contradictions. When you see his pieces for the first time, you almost feel repulsed, then seduced, and finally held in awe of his craftsmanship and aesthetic.

His work is indiscriminate, as was the case with Cloaca and he dares to challenge the art industry and the inconsequence of contemporary art production, questioning the commoditization of contemporary work where the value of the art is more important than what it represents. At the Louvre Museum, one of his gothic works juxtaposed carpeted pigs that had been taxidermied with grand crystal chandeliers in Napoleon III’s apartment. In another piece, he placed a colossal 11-meter phallic globe that looks like a corkscrew suppository right beneath the museum’s glass pyramid.

There is no doubt that Delvoye thrives in challenging audiences to be more open minded by making them feel perturbed and on edge. His non-conformist style and showmanship sets him apart from other artists as he dares to alter people’s ideas of beauty where he continually associates the repulsive with the attractive. Even though his gothic works have stirred a lot of controversies, it is evident that he makes every effort possible to ensure that every element is as he needs it to be.

His gothic works show off his extensive artisanal skills such as embossing, steel work, weaving, tattooing and glass making. His ornate steel and stainless steel gothic cathedral trucks showcase a level of skill and craftsmanship that can only be described as ‘so Delvoye.’ The scale models of the cathedral trucks that were created using the architecture and the visual quality of the gothic era marry so well to create a contrast between gothic craftsmanship and the machine-based exterior of the vehicles.

The amount of detail featured in the models is astounding, and more importantly, it challenges the viewer’s perception of things. The more daring thinker, ought to appreciate his talent for connecting two seemingly impossibly incompatible styles to produce masterful works of art.

Wim Delvoye - D11, 2008, laser-cut Corten steel, 117x127x270cm, Installation view, Rodolphe Janssen, Brussels, Belgium, 2008
Wim DelvoyeD11, 2008, laser-cut Corten steel, 117x127x270cm, Installation view, Rodolphe Janssen, Brussels, Belgium, 2008

Wim Delvoye - Cement Truck, 2010, laser-cut Corten stell, 980x408x213cm, KVS, Brussels, Belgium 1
Wim DelvoyeCement Truck, 2010, laser-cut Corten stell, 980x408x213cm, KVS, Brussels, Belgium

Wim Delvoye - Cement Truck, 2010, laser-cut Corten stell, 980x408x213cm, KVS, Brussels, Belgium 2
Wim DelvoyeCement Truck, 2010, laser-cut Corten stell, 980x408x213cm, KVS, Brussels, Belgium

Wim Delvoye - Cement Truck, 2007, laser-cut Corten stell, 802x225x352, MONA Museum of Old and New Art, Tasmania, Australia
Wim DelvoyeCement Truck, 2007, laser-cut Corten stell, 802x225x352, MONA Museum of Old and New Art, Tasmania, Australia

Wim Delvoye - Concrete Mixer, Laser-cut Stainless Steel 2
Wim DelvoyeConcrete Mixer, 2007, laser-cut stainless steel

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What happens when 8 million LED lights illuminate Japanese town

What happens when 8 million LED lights illuminate Japanese town

Nabana no Sato - Winter Illumination - Light Tunnel 1
Winter Illumination at Nabana no Sato, Kuwana, Japan

Japan seems to be way ahead of the rest of world when it comes to experimenting with lights. It is a culture throughout the country to have impressive light festivals over winter. Other than showcasing the creativity of new talent every year, such festivals give life to the boring weather of winter. It is no wonder that most people love to extend these displays well into spring.

First time visitors will find the numerous festivals captivating but natives and frequent visitors will agree that the Nabana no Sato is the highlight of them all. The festival is a creation of the Nagashima hot spring resort located in Mie prefecture. Setting up the light display takes a record four months and involves thousands of workers to fix the over 8 million LED lights. The most outstanding feature of this festival is the stunning tunnel of lights which spans 100 meters. Every year, so as to make it feel like a new experience for visitors, a detail of the tunnel is magnified and this year is not different. If you were in Nabana no Sato in any other year, you will not see the red, green and orange color change at the tunnel of lights.

To someone who has never been to Japan over the winter season, it is hard to imagine that the flowers on display in the various festivals are real. It is easy to get lost in the marvel of the seasonal flower shows but even more captivating are the winter illuminations. Every year, there is an increase in the number of visitors who tour Japan for the winter illumination festivities and in 2017 alone, it is estimated that a total of 2 million visitors will tour the Nabana no Sato for the festivities.

Nabana no Sato is within proximity to the Nagashima Spa Land and for visitors travelling by public means, the location is accessible by bus or train services. This is an excellent location for a weekend away from the busy city life; a great stress relief activity is strolling through the grounds that are alive with shrubs and seasonal flowers. Many people find that there is something new to see regardless of what season it is. The next time you are close by over November to March, do not forget to drop by and when you do, you better have your camera ready to snap away. The beauty of the winter illumination festival is nothing to describe in words but a picture will capture it all!

Nabana no Sato - Winter Illumination - Light Tunnel 2
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination - Mt. Fuji Display 1
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination - Mt. Fuji Display 2
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination - Mt. Fuji Display 3
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination - Light trail on the water
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 5
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 1
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 2
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 3
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 4
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 7
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 8
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 9
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 6
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 11
Winter Illumination at Nabana no Sato, Kuwana, Japan

Nabana no Sato - Winter Illumination 10
Winter Illumination at Nabana no Sato, Kuwana, Japan


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Colorful artwork in Las Vegas desert

Colorful artwork in Las Vegas desert

Ugo Rondinone - Seven Magic Mountains Las Vegas, Nevada, 2016
Ugo RondinoneSeven Magic Mountains Las Vegas, Nevada, 2016

Seven Magic Mountains by Swiss artist Ugo Rondinone sits comfortably in the desert south of Las Vegas in Nevada. The colossal work is made up of seven towering sculptures of stones weighing up to a ton each. The huge limestone boulders are stacked on top of one another. Each tower is made up of three to six stones and each stone has a specific colour with each stack standing as high as 9 to 10.5 meters. Seven Magic Mountains is now one of the largest land-based art installations in the United States in the last 40 years.

Ugo Rondinone is known to be a lover of nature and some of his works revolve around the sun, the moon, and the cosmos. The artwork goes further to emphasize the kind of interest the artist has in natural phenomena and how they reformulate in art, and refers to the natural world, existentialism and romanticism all concurrently in a mental trinity that the artist’s works have been known for. According to the artist, Seven Magic Mountains brings out the togetherness and unity between nature and human, natural and artificial, as well as the past and the present.

This work became like a special art pilgrim site as it evokes a kind of spirituality that is bound to have spectators engaged and leave them in awe. The location brings about a feeling of stability from the mammoth sizes of the boulders. Seven Magic Mountains is placed strategically such that viewers will be able to view it from different angles and perspectives, and is getting the expected reactions from the public. Whenever people stumble upon it, they smile and bring out their phones to take pictures. It is also making waves on social media as many people are talking about it.

Ugo Rondinone - Seven Magic Mountains Las Vegas, Nevada, 2016
Ugo RondinoneSeven Magic Mountains Las Vegas, Nevada, 2016

Ugo Rondinone - Seven Magic Mountains Las Vegas, Nevada, 2016. Photo by Gianfranco Gorgoni. Courtesy of Art Production Fund and Nevada Museum of Art
Ugo RondinoneSeven Magic Mountains Las Vegas, Nevada, 2016
Photo: Gianfranco Gorgoni. Courtesy of Art Production Fund and Nevada Museum of Art

Ugo Rondinone - Seven Magic Mountains Las Vegas, Nevada, 2016
Ugo RondinoneSeven Magic Mountains Las Vegas, Nevada, 2016 (installation)

Ugo Rondinone, Miami Mountain, The Bass, Miami Beach, 2016
Ugo RondinoneMiami Mountain, The Bass, Miami Beach, 2016

Ugo Rondinone, Miami Mountain, The Bass, Miami Beach, 2016
Ugo RondinoneMiami Mountain, The Bass, Miami Beach, 2016

Ugo Rondinone - Installation view, Clouds + Mountains + Waterfalls, Sadie Coles HQ. Copyright the artist, courtesy Sadie Coles HQ, London.
Ugo Rondinone – Installation view, Clouds + Mountains + Waterfalls, Sadie Coles HQ. Courtesy Sadie Coles HQ, London

Ugo Rondinone - Unique Stone Sculptures
Ugo RondinoneUnique Stone Sculptures

Ugo Rondinone - Purple Pink Red Orange Yellow Green Mountain
Ugo RondinonePurple Pink Red Orange Yellow Green Mountain

Ugo Rondinone - Black Blue Pink Mountain, 2015, painted stone, stainless steel, pedestal, courtesy Sadie Coles HQ, London
Ugo RondinoneBlack Blue Pink Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Orange Yellow Green Blue Pink Red mountain Mountain, 2015, painted stone, stainless steel, pedestal, courtesy Sadie Coles HQ, London
Ugo RondinoneOrange Yellow Green Blue Pink Red mountain Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Unique Stone Sculpture Blue
Ugo RondinoneUnique Stone Sculpture Blue

Ugo Rondinone - Yellow Pink Red Mountain, 2015, painted stone, stainless steel, pedestal, courtesy Sadie Coles HQ, London
Ugo RondinoneYellow Pink Red Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Blue black white mountain, 2015. Copyright the artist, courtesy Sadie Coles HQ, London.
Ugo RondinoneBlue Black White Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Blue yellow mountain, 2015. Copyright the artist, courtesy Sadie Coles HQ, London.
Ugo RondinoneBlue Yellow Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Green yellow orange red pink mountain, 2015. Copyright the artist, courtesy Sadie Coles HQ, London.
Ugo RondinoneGreen Yellow Orange Red Pink Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London

Ugo Rondinone - Red silver yellow mountain, 2015. Copyright the artist, courtesy Sadie Coles HQ, London.
Ugo RondinoneRed Silver Yellow Mountain, 2015, painted stone, stainless steel, pedestal
Courtesy Sadie Coles HQ, London


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Artist mocks Koons highest priced work using garbage bags

Artist mocks Koons highest priced work using garbage bags

Gimhongsok - Canine Construction, 2009, bronze
GimhongsokCanine Construction, 2009, 164x231x90cm

This Canine Construction by South Korean artist, Gimhongsok is one that anyone would fall in love with, coupled with the enigmatic quality it has. This work is the sculpture of a dog remains one of the artist’s most well-known works in recent times. The creation involved using garbage bags, balloons, cardboard boxes, all assembled with expensive materials like resin.

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Public Delivery

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