Late Spring Look at Artwork on the Bikeway: “Ripple” and “Current”

Through three seasons, “Ripple” and “Current” held up handsomely in spite of wild extremes in weather. “Ripple” was scheduled to end in June, when arborists removed the still colorful yarn sleeves from the tree trunks. “Current” will continue, with no scheduled take-down time.

This is my third post about these two artworks, though I have visited almost monthly and would gladly visit more often as local runners, walkers, and bikers likely do. This post simply offers my recent photos (May 31, June 9, 2018)  with ever-growing appreciation of what trees and artists can do together. Another post may follow when my thoughts become more clear.

“Ripple” by Adria Arch and the Arlington Knitting Brigade

Photos from the Last Day of May

Photos from the Second Week in June, after Yarn Removal

Although I did not get to witness the drama of taking down the artwork, I felt my own emotional drama at the sudden absence of the knitted art. After wandering back and forth absorbing the apparent loss, I began to imagine the trees’ relief at being free of garments and returning to their own ways of life.

“Current” by Frank Vasello, Photos from Last Day of May

“Current” by Frank Vasello, Photos from  June 9

In the June visit, I moved my camera closer to the ground, becoming more aware of how the art related to the earth. I’m still impressed by how the sticks retain their patterns, especially along the downward sloping land.

Earlier posts with information about both projects (Click on titles.) 

1. Background about “Ripple” and “Current” from October 2017 with links to many resources about the artists and Arlington Public Art:


2. Winter views and thoughts about “Ripple” and “Current” from January 2018: 


The Arlington Knitting Brigade preparing for “Ripple” in 2017. 


photo by Jean Hangarter from Arlington Public Art website

As temporary artworks like “Ripple” end, new ones will be starting. I’ll hope to relate and report on those as well. See About Arlington Public Art, What’s Next?


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