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New work, news and Images from the shop. If you would like to know more about my art, please visit my full website @ www.chrisbathgate.com

4/18/17

The S1V2

Kinetic art, fidget, sculpture, pocket art.

And now for some color.

As promised, a return to some smaller work with a new edition of "Slider" style pocket sculptures. Although similar in composition to the original S1, this is a complete redesign with a lot of carefully considered changes. I am going to call this the "S1V2".

I was originally going to go with S3 for simplicity, but I have a concept that is still incubating that reflects a more proper evolution, and so is more deserving of that moniker. I will get to it one day I promise.

There are a number of reasons I wanted to return to this form from last fall. For starters, over the many weeks I worked on S1, I kept coming up with small but meaningful changes I would have liked to try. Eventually, this list of changes became long enough that I started drafting some of them just to see how they would have looked.

These sketches became a complete redesign of the work. But having too many commitments at the time, I shelved the drawings, not knowing if I would ever get back to them. 

Chris Bathgate, functional art experiment

Another reason I decided to pull the trigger on this edition was that even though I have released a number of other small works in the last few months, I still get near daily emails from people who are primarily interested in my original slider design.

This is of course, very flattering, and as focused as I might be on "new" new work, eventually the steady drum beat of people wanting works of this nature must have had an effect. Not usually one to cave to peer pressure, I suspect I was already looking for an excuse to dust off my V2 design and see where it might lead. Given how great they turned out, and how excited I am to start this project has helped to confirm that suspicion. 

Besides. I think I was able to cover enough new ground with this refinement to justify the indulgence.


Aside form the new profiles and insert details, there are quite a few noteworthy changes in this new design. For starters, these are about 30% bigger than my original slider (but not heavier), I always thought that the originals might be a bit small for some hands so I went for something a little meatier. 

This larger size was just enough to allow me to do some internal profiling on the bore that receives the insert. The radius on the tail end of the insert is an elongated profile, which requires a very small boring bar to turn the inside dimensions. The original S1 was simply drilled out using a 5/8" ball mill, which was limiting.

EDC art, CNC sculpture, anodized art

I had very briefly experimented with anodized aluminum inserts on the S1. What I initially found was that the friction inside the bore was too much for the exposed sharp edges of the inserts, which caused some chipping of the colored coating.

But on reflection, I realized I had it backwards all along. I started to wonder, what if I swapped the anodizing to the body? I reasoned that doing so would mean that the smooth and reasonably protected inner bore of the body would be the only portion of the coating that would be exposed to sliding friction. I wondered if that would be enough to prevent any chipping? A test was going to be the only way to find out.

So I made a prototype (the orange one) and have been putting it through it's paces all weekend. I am happy to report that it is holding up beautifully, even to some brutal accelerated aging. so I am now reasonably confident that this combination is going to work perfectly fine.

The reason for all of this trouble was so that I could produce the gorgeous array of colors you see above. Anodized aluminum is really the only way to produce such colors on a metallic finish, and it was something I thought was lacking in my other works. Plus it is quite fitting for a spring edition.

The aluminum is noticeably lighter, but the larger insert makes the total weight close to the S1. The sound of the sliding action is different from the S1 as well, which is a rare look at the acoustic properties of different metals. (there is always something new to be learned in with this craft).

       
Purchasing?

So, as I have done with other small editions, If you are interested in adding one of these works to your collection, I will be opening these to pre-order only.

I expect demand will likely outstrip my ability to produce enough of these, so I have come up with a system that is as fare as possible, if not a little clunky and complicated. (all of this will be detailed on the pre-order form once I settle on the number of works I think I can make)

Pre-order will open this coming Thursday (April 20th) at 11AM (EST). I will send out a follow up to this newsletter at exactly that time with a link to a google form. This form is how you will reserve your place in line to purchase one of these sculptures. The form will also detail the pricing, shipping, and how payments will be processed.

If you are not on my mailing list, please sign up here before Thursday morning and white list the following email address in your mail client "chris@chrisbathgate.com"

This will likely be the only run of these I will make, as I have lots of other exciting things in the works.

So keep an eye out for the Thursday pre-order email.  And if you are reading this at some distant point in the future, I am sorry, but the moment has passed.

As always, comments and questions are welcome.

4/11/17

Over 1000 individually machined parts later, a new sculpture emerges. (Sculpture BM 792314)


CNC art, Industrial design, Sculpture, Machinist sculptor

Last year, I spent the fall making a small army of pocket sized sculptures. They were very popular and a blast to make, but they were relatively simple as far as designs go. So as winter set in, I felt that I was ready to turn my attention to something bigger and more technically complex. Now it is spring and I have emerged from my studio hibernation with something I think is really special.

For the last 14 weeks I have been undertaking one of my most ambitious works to date. Not ambitious in terms of size (although it is a largish piece), but more of a personal record in terms of the substantial number of parts I was required to make to execute this idea. It is a design with well over a thousand individually machined parts. If you count spare parts (I always make extras), almost 1100.

Digital Fabrication, industrial design

While still a healthy size as far a machined metal sculptures go, it is by far the largest parts count I have ever attempted. I had to make hundreds upon hundreds of custom bolts, pins, and spacers in addition to the dozens of other more intricate parts that make up the assembly.

 (Sculpture is 20.5" tall, 17" wide, and 11" deep. It weighs 88 pounds)

engineering art

This work is also unique in that it has a rather complex interior space, something that I find difficult to work into many of my designs.

 The opening into the interior is approximately 5" at its smallest, so you can easily stick your whole arm through the center of this piece. 

Digital Fabrication arts

As far as my design motivations for this work?...Well lately...rather than thinking about these sculptures in terms of representing one big idea or one specific meaning, I am finding it more useful and accurate to say that these works speak to a collection of smaller ideas, some overlapping, and even conflicting at times. 

I bet many artist feel pressure to impose meaning in places were maybe there is none, and are reluctant to reveal other meanings in service to creating a tidy narrative around their works. There is a belief that a concise narrative makes the work more accessible to others, but this is not always true with my type of work. I find a fixed narrative or interpretation betrays the complexity of the creative process, and can even be alienating if it does not fit with a persons own perceptions of the work.

So I have started to say that I collect lots of small concepts, bits of technical information, personal meanings, and compositional elements as I work. Then I take these simpler elements and smash them together and recombine them until something more complex and refined emerges. 

I think comparing disparate pieces of information is how most new ideas are created, it is certainly the case with this work, I could speak to over a dozen loosely connected points of interest that went into this composition. But as you already know, I am only willing to share a few of them.

design art, metal fabrication, cncart


One example of an influence that I am willing to share, comes in part from planning my most recent exhibition at the Baltimore Museum of Industry.
(see link and show details here)

The BMI was originally an old cannery that now houses an array of machines, products, and tools from across Baltimore's industrial past.

I paid many visits to the BMI over the last 18 months while planning my exhibition there. I took a lot of extra time during those visits to appreciate the BMI's collection to see how I might make some connections to my own work. 

My time amongst the various industrial artifacts got me thinking about how artists have always appropriated antiquated industrial processes and given them a new lease on life within the arts (glass blowing, type setting, wood turning are all examples). Likewise, artists have also been some of the first to adopt new technologies to see what novel uses they may have (photography and video). I realized that this contrast between the old and the new is something that machine work, my sculptural process, encapsulates beautifully. 

There are processes that I use in my shop that have not changed for hundreds of years, there are also processes in my shop that represent the cutting edge of digital fabrication technologies. I think committing to exploring both ends of this spectrum has led me to some of my most interesting work. 

Walking around the BMI, I intentionally pulled a number of references from their collection for this particular piece, far more than I would ever admit to for any other design. I wanted some part of this sculpture to embody my experience there. 


metal sculpture, abstract, machine, art

As I said, there are many other influences present in this work, as the beginning sketches of this design go back almost 2 years. 

Ok ok, one more. Look up "John Ernst Worrell Keely", really interesting story in its own right. Was he a con man? inventor? or was he the first machinist sculptor?..

I'll just leave that one hanging out there.

CAD, technical Drawing, schematic art

The Drawing for this work is just as ambitious as the sculpture, but a bit too big for a blog image. 

It is actually too big for the printer as well, 60x60 inches is as big as my printing company can accommodate, but even this is not properly to scale. 

Sadly, it is very compressed above which compromises it a great deal.


But rest assured, each part is faithfully included in there somewhere. I took a bit more liberty with the use of a bold color (singular) and composition on this one.

 I can't wait to get this monster printed and on a wall somewhere, as it is like an engineers version of a mandala.


The exploded diagram and assembly breakdown is unfortunately another drawing that just doesn't scale well for the screen. 


The exploded assembly is just an organized mess until you spend some time wrapping your head around it.

Machinist sculptor Chris Bathgate, works

Additional process notes: Even after all the parts were completed, It took two entire days to assemble everything. Threading and torquing down each of the hundreds of bolts with custom made wrenches while taking great care not to scratch or ding the finish was quite the meditative exercise. I have never held my breath so much in my entire life. 

Machine work as sculpture

This project saw me spending many weeks with repetitive operations, so I made it a point to enjoy taking the time to refine and discover efficiencies for each step and part-program as the days went on. 

There is a lot to be learned from making 440 small spacers, even when you are on part 423, something new might still occur to you.

milling machine art, lathe art

I also had to expand my Anodizing lab to accommodate some of the larger diameter ring shaped parts. They simply would not fit in my existing tanks, but I knew they had to be orange, so I ended up refurbishing much of my anodizing line and installing new tanks just for the few parts in this work.

 I will be sure to put them to good use again in the future. 


Many people have commented that I do a bad job of illustrating the scale of my works in these posts. 

To remedy this, here is the hand spinner collaboration I did sitting atop a 1.5"diameter steel rod for scale reference.

 the stainless bolt heads on the work are each half an inch in diameter, and the large orange bolt caps on the legs are three quarters. 

(there are also a couple good desk shots in the montage below)


 Lots of other great process images for inspiration as well. 


So in conclusion, this is what 14 weeks of my life looks like...I hope you like the result.

 The pendulum will likely be swinging back to some small works for a little while, I have some things I want to try and some other collaboration announcements coming, so stay tuned. 


Also, in case you missed it, the newest version of my art book is now up for sale on the website and on Blurb, links below. 



as always, comments and questions are welcome. 


2/4/17

The Bathgate Artifact Spinner collaboration


This piece is the second installment in a series of design collaborations I am doing with various machinist makers I have come to know. Like my previous joint project with Rich Stadler, the goal is to find projects that pose interesting new design constraints that may lead to sculptural insights I might not have otherwise considered.

This time, I teamed up with Mike Hogarty and Callye Keen from Revolvemakers to design what is known as a spinner. So first things first, a little bit about the two of them.

Mike Hogarty is a Master Mechanic and founder of Hotrods 2 Hybrids. He is a designer of custom motorcycle and automobile parts, and is a member at Nova-labs in Reston VA.

Callye Keen is a product designer and comes from a family background in low-volume, high-precision manufacturing, Callye now runs Red Blue Collective, a group that aims to help hardware startups get off the ground. Callye is also a member at Nova-labs in Reston VA.


So now then, why this project? 

It has been my observation that there are a number of aesthetic object making trends emerging within the machinist community. A small cottage industry has sprung up around making and selling things that are first and foremost, interesting to look at, but also serve some other utilitarian function as well. Some of these objects are becoming common enough that they are starting to represent tradition forms within the craft. 


One of the most common aesthetic objects is something known as a "spinner". For those who may be unfamiliar, a spinner is an object with a ball-bearing in the center of it, that a person can sort of meditatively spin between the index finger and thumb. Most often referred to as a fidget toy, I much prefer looking at them as a type of kinetic sculpture ( I just can't get on board with the "toy" thing).

spinners are extremely popular, both to make, and also as collectors items. 


A very basic spinner is easy to build, and the design allows a lot of flexibility as far as what one can look like. The bearings used in them are affordable and readily available. The main design constraint is that they must fit in the hand, and be balanced enough to spin without wobbling. I have seen immaculately machined versions, as well as 3D printed plastic ones, and even intentionally crude looking spinners made from rough cut wood.

The machinist community has exploded with likely hundreds of spinner designs. Their ubiquity is why I was initially reluctant to make one. But after a few conversations with my collaborators, I came to feel that if the spinner is going to become a traditional form within the machinist art community, it may likely become a sort of "rite of passage" to design and make one - and so I was in, and now here we are.


So down to brass tacks and design notes. While there have been many interesting spinner designs made already, one of the biggest criticisms (and it is a loving criticism) I could level at most of the work I have seen, is that many spinner designs do not transcend their medium very well. 

Much of the works are machined out of flat bar stock, which is perfectly reasonable to do, but the resultant works also tend to look like they were machined out of flat bar stock. This flat-bar look, to me, is generally not very interesting (but exceptions abound). 

So that was sort of my charge with this design, to break from this flat-bar mold and push the geometry into something that was not reflective of the starting stock. I wanted to find complexity within the relatively simple design that is the spinner.

But as an aside, I rather intentionally included the brass plate in the middle of this design, as a sort of reference to the flat stock criticism I was working against. As maybe a contrast, or some intentional dissonance, maybe even affection for those who came before, I think it is likely a little of each.


Having now designed and made a spinner, I certainly think it is a worthwhile exercise from a domain knowledge standpoint. I think younger machinist and people beginning to experiment in the metal arts can get a lot out of a project of this nature. Making a spinner addresses fundamentals of both machine work and visual composition, so in a lot of ways it is ideal.

Anyhow, I find the end result of my experiment to be such a nice little object to look at, I am not even sure it would matter to me if it spun or not..Im joking..mostly


UPDATE: 5/13/2017

When Mike, Callye, and I started this project, spinners were a little known object that was relegated to a small niche of collectors and enthusiasts within the maker community. Now that we are wrapping up the project and shipping the last Artifacts to their collectors, much has changed.

Within just the few months it took to complete our project, the "spinner" as an object, has gone from something machinist and makers made for their own amusement, to a cultural and commercial phenomenon. Cheap plastic versions can now be bought in toy stores and even in the checkout lines at malls and pharmacies. News stories about them are everywhere. It is quite a lot to take in as the narrative I was writing to above has certainly changed a lot.

With anything that reaches a mass audience, there is praise and criticism, some people think they are the next pet rock, others express bewilderment as to why anyone would want such a trivial object, some think they are just kids toys.

But I stand by my original reason for wanting to make one.  No matter how spinners may eventually come to be perceived in the world at large, that the spinner represents an object that can be made in a limitless variety of shapes, materials, and designs, creates an excellent opportunity to experiment and talk about the intersections between fine art, commercial products, craft, and design.

It was a great project and that the spinner has attracted world wide attention (for better or worse) just helps to reinforce that belief.

As always, comments and questions are welcome. 


11/21/16

Lets call it the S2 for simplicities sake.

pocket sculpture, worry stone, slider, EDC, fidget, art

My second act

For those of you who have been following some of the different machinist related Makers and craft artists I have been writing about lately, you know that the scene is exploding with various machined art objects and kinetic art pieces. There is a proliferation of metal spinners, tops, and other fidget works that speak to both function and aesthetics. It has all the makings of a budding creative arts movement. It is an exciting time to be in the world of machinists, with any luck, it will continue to evolve. 

It is my desire to continue to add my voice to this growing movement. And while I am at it, see if I can't find some inspiration for larger and more ambitious machined sculpture in the process.

So with that in mind, the day is finally here to unveil a new Pocket Sculpture project, I am going to refer to it as the "S2" until a proper nickname takes hold. This one builds on the original "Slider" design and takes it somewhere completely different. I intend to attempt to spin this off into a larger sculptural object as well.

Netsuke, slider, pocket, sculpture, fidget


This design is a return to symmetry and a much more complex assemblage than its predecessor. And while visually, the relationship between this work and the original Slider may be obvious, from a machining perspective this work is an entirely different animal.

The original Slider was a triumph in creating complexity using as few steps as possible, this work is simply complex for how elegant it seems. This work has many more machined parts and while the Slider could be built in just 11 machining steps, this one requires well over 33 machining operations (depending on how you count).

So even though the unavoidable pull toward complexity won out for this particular design, I think it is a natural next step for this journey into trivially functional art, and I am very happy with the result.

Fidget, art, Sculpture, worry stone, slider, S2

As you can see in the above image, the sliding mechanism is double acting, meaning both ends can be extended and retracted independent of one another. With a little practice this piece can be flipped and clicked in a number of different ways. So far it has been quite a lot of fun to prototype and test.

I will say it can be a little more rough on the hands than its predecessor, but the price of finding a balance between form and function seems to be the development of a few well earned calluses.
(It's really not as bad as I am making it out to be, but still worth mentioning.)

The visible hardware on this work is another area where I had to depart from the norm to reconcile how the sculpture worked, with how it looked. Figuring out a method to keep the ends from overextending (and sending springs and bearings flying everywhere) required a bit of a visual compromise in that regard.

Slider, worrystone, Netsuke, Sculpture, machined, metal, sculpture

So even though I had to bend the rules a bit and leave some set screws visible while the work was in the open position. It is a compromise that I can live with as the hardware is only visible when in operation. When closed, the piece is an attractive sculpture like any of my other works. 

I have settled on two metal combinations for this design, all stainless steel and a stainless steel with brass inner element. 

The work is 1.25" wide and a bit over 3" long when closed. While extended it is just under 4" inches Long


My intention with this work is to take a page from my Spinning Top collaboration with Richard Stadler.

I want to use this small design as well as the experience of building this edition to create a larger, more elaborate "one of a kind" work.

I like the idea of using the internal logic of a functional art piece to spin out a completely non functional, full size sculptural work. 

You know, intentionally going further down the rabbit hole.

I have the beginnings of a larger design based on this prototype, but I am going to take my time and let the project have plenty of influence along the way.


Important information if you want to collect one of these: 

Because I am going to be building a larger work based off of this piece, it means I am going to have to limit the edition size to a much smaller batch than my last project. (probably 30 or so works total)

I will be doing a sign up pre-order just like the last time, but depending on how many sign ups I get, I will be running part of it like a SUS or "Sign Up Sale"

This is how it will work:

-I will open the preorder on Monday November 21st, at 11AM Eastern Standard time via my newsletter. I will leave the sign up open until the following Monday (1 week)

-The first 15 people who sign up will be able to purchase the works directly.

-After the first 15 sign ups, and after the pre-order closes, I will randomly select an additional 15 people using a random number generator to award the remaining 15 slots on the list. 


After the sign up sale closes on November 28th, you will not be able to sign up for a chance to collect one of these. But as always, I would encourage you to join my newsletter so that you can get a first look at my sculptures as I complete them and catch future projects of this nature.  


As always, comments and questions are welcome. 


11/2/16

A Collaboration with a fellow machinist/artist, Richard Stadler from BilletSpin Tops ( sculpture TP533351444623)


Tops, Spin tops, sculpture, cnc, art, Billet, spin

The day has finally arrived when I get to share this collaboration between Richard Stadler from Billetspin tops and myself. It has been very hard keeping this special project quiet, and I am just beside myself with the results.

Above you will see two objects, on the left is one of my signature machined metal sculptures, on the right is the spinning top design that inspired that sculpture.

Billetspin, spintop, collaboration, pockettop,

As some of you may remember, a few months ago I wrote a post discussing some of the machinists who are doing interesting aesthetic work within their own niches. Makers working with industrial processes in creative ways that maybe goes unnoticed by the arts community because it is viewed as craft, or too utilitarian. Regardless, to me, the content of the work feels very relevant to any conversation about material, technology, and art. . One of those machinists was a spinning top maker named Richard Stadler.

Spin Tope, chirs bathgate, CNC, art

Where as I tend to characterize myself as someone with no formal training, who came to machining in pursuit of making sculpture, or "art for art sake. Rich grew up surrounded by machine tools and has worked for his family machine shop since he was 13 years old. He has manufactured custom parts for all manner of equipment for many decades. and fits the ideal of a formally trained craftsman who has started to branch out into more artistic avenues of expression.


To this end, Rich has been making some of the most beautiful machined objects I have ever encountered (additional examples above). His tops have attracted an incredibly large following and are highly prized collectors items in there own right. These are not toys, these are immaculate works of art. I encourage everyone who is unfamiliar to go over to Rich's website and look around.


Following my previous post, Rich and I struck up an email correspondence and before long I found myself pitching him an idea to do do a collaboration. I thought it might be fruitful to take on a project I might not normally undertake in the hopes it would help me see things from a different perspective, and give me an opportunity to explore new lines of thinking about my own sculpture-work.

Chris Bathgate, spin top design, cnc, art

But while I was eager to collaborate with Rich, I did not want to simply design a top and call it a day. I was interested in using this as an opportunity to build bridges between some of the different corners of the machinist world. I am always looking for ways to inspire machinists to make art, and also inspire artists to take up machining as a medium. so I wanted the project to be something that could fit into a couple of different categorical boxes.

cnc, billetspin, Chris Bathgate, cnc, design

So with this in mind, the basic premise became this; With Rich's guidance and advice, I wanted to design a spinning top with visual elements that could translate into a broader sculptural composition. The starting point would be something that hued closely to Rich's area of expertise, but with my own flavor and aesthetic. 


From there, I would use that design experience as a springboard to make a whole new stand alone sculpture, something that would be "one of a kind" a more traditional "non functional" sculpture that would incorporate the visual elements from the top design. It would be a conceptual bridge between our two means of expression.


I know this is a long way of saying we collaborated on something, but I think the details are important. It is in the details of designing and machining something that I get most of my ideas, and Rich understands that as well as anyone I have met. 


Coming up with a workable design within the specific set of constraints that spinning tops demand proved challenging for me at first. Size requirements were a limiting factor I was not accustomed to, as most tops are pretty small by my standards. Eventually, with some good tips from Rich, I got into a rhythm and probably annoyed him half to death with an avalanche of concept sketches and emails at all hours of the night. 

After exchanging notes for quite awhile, we hit on something with a central design theme that I thought was flexible enough to translate into a bigger work and we moved forward from there.


The end result is what you see hear, and by all accounts the reaction has been incredible. Rich has also reported that this project helped him to see his medium with fresh eyes, and got his gears turning on some new designs of his own.

And I am very thankful for the opportunity to design within a new ecosystem of constraints (something I absolutely love) and leverage that experience as a way to come to a sculpture concept I otherwise never would have.


Some additional notes about the Pieces: The tops themselves are just 1.25”D x 1.32”Tall. 

The Sculpture is 5.5” x1.7” and man is it heavy.


While I did  much of the design work for both the tops and the sculpture, Rich will be undertaking the fabrication of the limited edition run of those tops, which will be available in a number of materials and finishes, but will be made in extremely small quantities.


If you are interested in owning one of the Bathgate tops (They are being called “The Bathgate”crazy right?!) or one of Rich's tops more generally, I would encourage you to join his Facebook group page (click here to join it). His tops sell out instantly, so he has too distribute them through a raffle system. These tops are no different and will be handled through what is called a "sign up sale". (this is the portal for that)


He will be releasing them as he makes them so they will start trickling out this coming Friday.

Additionally, if you are interested in the sculpture I made for this project, that process will run through me as usual (just email me). But I should note there is only the one, so if more than one person is interested in adding it to their collection, I will have to try to come up with a way to decide where it goes to live in as fair a manner as possible.

Anyway, I hope you enjoy this as much as I have. As always, comments and questions are welcome.

9/30/16

Pocket sculpture update.

Slider, Pocket sculpture, slider, CNC, Art

I thought it was about time I get an official blog post up about this project, as this piece has been out in the world for many weeks, and is one of the most popular things I have ever done.

Slider, Pocket sculpture, slider, CNC, Art

Originally conceived of as a piece of pocket art, this little triptych was designed at the suggestion of two friends of mine. There were three versions. Two of them were solid one-piece works in bronze and stainless steel. These two were intended to serve as more traditional worry-stone type works, pieces that you could hold and contemplate, but were static. 


The third design was a kinetic piece (one of my first actually). It was made out of Stainless steel with a simple bronze insert that moved. This design was by far the more popular of the bunch, and has been so well received, that I am at quite a loss for how to properly react. 

Although I never properly named this project (there just wasn't time), it has taken on quite a few nicknames in just a few short weeks.


The "Slider" is the most common nickname, based upon its simple and intentionally trivial function. The little bronze piston literally slides in and out, creating a satisfying clicking sound created by a spring and ball bearing running in what I am now informed by the knife maker community is called a "detent"

Slider, Pocket sculpture, slider, CNC, Art

Intended as a small edition, I had only anticipated making a dozen or so of these to begin with, but I have had to re-adjust that plan quite a number of times, as so many people are interested in this, I have had to revise the edition size again and again and again.

Under normal circumstances, I am quite satisfied with the idea that all of my works are "one of a kind". Once the design or idea is out in the world, I usually feel that is enough, and one is enough. 


But I must admit the idea for this work was, and is, a little different.

 In addition to making a small piece of art that was just a joy to hold and contemplate, my secondary intention for this work was to see if maybe I could use it to reach out to the maker community, as well as the various machinist communities I have come to know and respect, but maybe do not feel entirely a part of.


As a person who comes at machine work purely from a fine art perspective, I wanted to attempt to bridge the gap a little between the idea of making craft objects such as knives, rings, tops, tactical gear etc, and the idea of making art objects for their own sake. 

One of my goals with all of my work is to try and move the needle for a few of the makers and metal crafts people I have come to admire. People who are doing some amazing things with aesthetics in their given vocations, and maybe just raise the idea that there is fine-art in what they are doing with machine tools within their trade, and maybe encourage others to turn their talents to the arts, and to sculpture. 

Not because what they are doing is not already amazing, but just because...."art". (make sense?). I also just want to raise awareness with the general public that there is something really interesting going on in the manufacturing community as a whole.


I think in this instance, the best way to achieve that goal, may not be with one singular large work that people see or visit, but can never own because it is too expensive or someone else has already claimed it. 

I think it better in this instance to have many little works, a swarm of little ambassadors such as this....also,  I just can't bare to disappoint so many people who want one, so the pressure to make more is very real.

I am sure that all may sound a little pretentious or self serving, but I assure you I am sincere, so do with that what you must. 


So, for those of you who have not had the opportunity to secure one of these little guys, but who remain interested in doing so, I can only say that I am trying to figure out how to balance the demand for this object with my other obligations. 

I would like to see this project continue to grow, as I think it is an ideal piece to bridge the worlds of sculpture, the maker community, other machinist craft communities, and beyond. It seems to resonate across a wide range of people, so I am committed to seeing what I can do to get more of them into circulation.

 I also intend to release a new design of this nature very soon. So if you are not on my mailing list, please sign up, as more news will be coming.


 Now with that all said, preparing for upcoming exhibitions and making new work must still come first ,so I have had to suspend ordering temporarily. But know that I am working to squeeze in time to make more, they are actually quite fun to make, so I do not mind provided I have the time.


For now, I am content that there are so many of these little works circling the globe, acting as representatives for my work as well as the idea that machining as a vocation, when turned to the arts, can produce something that resonates around the world.


I will send out updates if and when ordering re-opens, so please be patient with me. Your interest has not gone un-noticed and I do not take it for granted, It is simply that I am a one man shop trying to do a lot with a little.

Slider, Pocket sculpture, slider, CNC, Art, Machining, machinist sculptor

Again, I am humbled and surprised by how many have shown interest in this project.

As always, comments, thoughts and questions are always welcome.