In late June in Presidio Heights, several dozen people gathered in an apartment to hear a pair of French brothers lay out their plans to build a twenty-meter titanium statue of Prometheus at SpaceX’s Starbase.
The immediate purpose of the event was logistical. Missor and Massoud, who run Atelier Missor, a foundry outside Paris, had arrived in the U.S. four days earlier with a bronze maquette of the statue and a decision to make: whether to relocate their workshop to Austin or San Francisco. They were looking for affordable warehouse space, a sympathetic local government, and—most importantly—deep-pocketed patrons who shared their belief that classical statuary is essential (or at least conducive) to civilizational flourishing. Or, as their website puts it, that “gigantic titanium statues will lead us to a beautiful future.”
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