We had different options for a memorial, but it wasn't a difficult decision once we heard the suggestion to name the space between the gym and fitness center as the Stephen Elrod Memorial Plaza and place a sculpture representing his qualities in a focal point on the plaza. The search began for an artist to design the sculpture.
In February 2010, we reviewed the qualification of six different artists. Four of the artists were selected to submit a drawing proposing their design for the sculpture. Although there were four wonderful ideas presented, we knew almost from the very beginning that Amanda Matthews was the artist we were to use. Throughout the design and assembly of the sculpture, we visited the foundry multiple times. We discovered different connections to Amanda which made it evident why she also felt "she was supposed to design this sculpture".
Amanda's proposal for the sculpture memorializing Stephen was of an 'angelic form' expressing forward and upward movement, and quiet introspection. It was a three-dimensional bronze and limestone sculpture standing 7' tall. Her inspiration for the design was born from three separate sources.
We had asked for comments and observations about Stephen from his family and friends. Some of the thoughts, observations, and memories written included "angelic, contagious smile"..."enormous smile"..."friend, an informal angel"..."gentle determination"..."Godly, faithful"..."humble, generous, kind"..."quiet leader"..."uplifting and always greeted you with his smile"..."valued important things in life--family, friends, God"..."respectful"..."displayed the gentleness of God's grace"..."helped you remember that each day is a blessing"..."giving--would find time for you no matter how busy he was"...
As Amanda read over the comments, she began to realize that a sculpture representing only one facet of Stephen's life would not do justice to the memorial. He represented a dynamic combination of uplifting, dedicated, encouraging, spirited leader and unselfish, humble, sincere, thoughtful, hopeful, kind, generous, quiet, faithful angel. One epitaph simply said LOVE.
The second inspiration for the sculpture came from Biblical accounts of Stephen. Amanda told of a Biblical essay by John MacArthur titled Stephen: A Profile in Courage, The Man with the Face of an Angel. The essay notes that Stephen was one of the great men of faith in the early Church. He was described as a "man full of faith and of the Holy Spirit" and "of honest report, full of the Holy Spirit and wisdom." Furthermore, as Stephen stood before a council of men (who were determining his fate), even they saw that "his face was like the face of an angel." MacArthur writes "Besides moving history, men also move the hearts of others by their individuality. Stephen was not only important because he had great historical effect (his martyrdom causing the expansion of the church), he was also important just because the very character of his life. This is great proof that the effect of a man's life or ministry has nothing to do with the length of the man's life. This essay's description of the Biblical Stephen, the first Christian martyr, bears striking resemblance to the wonderful remarks and comments made by Stephen's friends and the third inspiration for the sculpture came from the meaning of the name Stephen. Some of the traditional meanings of an angel are:
* a typically benevolent celestial being that acts as an intermediary between heaven and earth, a guardian spirit or guiding influence,
* a kind and lovable person, and
* one who manifests goodness, purity, and selflessness.
The sculpture has a forward, upward swooping motion separating out into two 'wings', which make a crowning circle and come back together near the tips. The south-facing orientation represents the quiet, humble, contemplative, listener like one who is bowing and praying.
Shown to the left is one of the early stages of the sculpture. Jon is shown placing his fingerprints in the soft clay with the artist, Amanda.
The process of bronze sculpting has not changed since the Bronze Age. In the photo is the actual process of pouring hot bronze into the ports in the molds.
To the eye of someone unfamiliar with the process of bronze, this picture would appear the the bronze pour was unsuccessful. However, it was a very successful pour. The molds were unbolted and pulled apart. After the wings are pulled apart, there are still several hours of work before the finished product.
Brad Connell, co-owner of the Prometheus Foundry welded small sections of the wings and the patina needed to be added as well before the finished product could be installed on the site.
