The Lady is a joint project of the Blagdon Estate, a 10,000-acre family property that dates to 1698, and the Banks Group, an energy company. Banks is extracting coal from a surface mine next to the site. The entities wanted to create an iconic feature that would enhance a part of the site, given its visibility near a major highway and rail line, and they shared its $5 million cost.Garden of Cosmic Speculation.
Jencks, 73, is part of the post-Modern generation. He is fascinated by contemporary science, but with the eye of an artist rather than that of a scientist. To him,
"We are living in a new paradigm. We now know the universe back to the beginning; we know so many things that upset the modernist Newtonian worldview." While the old sciences “were linear, deterministic and relatively simple,” Jencks said, the new cosmic age brings a cauldron of fractals, spirals, soliton waves and other shapes. He sees their effects everywhere — in the chaotic dance of a hurricane, the stormy Great Red Spot of Jupiter, a draining bathtub or even the nerve impulses of our brains.The attitude toward Newton is the key clue to where Jencks is coming from; real scientists still idolize Newton and think that his work has more in common with quantum mechanics than either has with philosophical speculation. But like many other artists, Jencks is fascinated by the new language of chaos and strange attractors, and the way an overarching order -- like, say, the climate, or life -- emerges from a mass of madly disordered details.
She’s not a pagan god, and people aren’t going to lose their moral compass if they walk all over her.She is life rising from the dead earth; order from disorder; a new, higher level of being "emergent" from simpler ones. Like humans evolved from bacteria, the Lady represents the self-organizing forces of the universe, the appearance of organisms within the cosmos that are coming to understand the rules by which they themselves came to be. This is the "statement" Jencks put on his web site:
To see the world in a Grain of Sand, the poetic insight of William Blake, is to find relationships between the big and small, science and spirituality, the universe and the landscape. This cosmic setting provides the narrative for my content-driven work, the writing and design. I explore metaphors that underlie both growing nature and the laws of nature, parallels that root us personally in the cosmos as firmly as a plant, even while our mind escapes this home.