I have never been very good at saving the best for last, so it is fortuitous that these special Worry-Stones were an unplanned extension of my project, as they are indeed “the best” and also, the very last of them.
I have two different variations on my Woody project to share today (not to be confused with the larger works I am currently producing). Also, for those of you interested, there is also a chance here to maybe add one of these to your collection.
So let's start things off with the work that is by far the most unique of the bunch, the Meteorite Worry-Stone. The insert for this work is made out of a real piece of the Aletai-Armanty meteorite, which is an iron-nickel meteorite that, when etched, exhibits a fascinating crystalline structure that can be found nowhere else on earth.
The original edition of Woody Worry-Stones were initially meant as a nod to some of the natural material combinations that knife makers most commonly utilize in their craft. I wanted to utilize those material trends for the purpose of sculpture. It was a fun concept that led to a very interesting edition of works and I learned a lot about a range of different hardwoods. But as it turns out, knife makers use such a wide spectrum of materials that by concentrating only on wood elements, I am barely even scratching the surface.
So to round out the project and further emphasize my thesis, I decided a non-wood material that represents a more extreme example of the materials knife makers utilize was in order.
One of the requirements I set out at the beginning of this project was that the inserts be made of only natural materials, among the more exotic examples that fit that requirement were fossilized mammoth tusk and saber tooth, also slightly more common is Ancient Bog Oak (which is semi petrified wood). But the material that really stuck out was meteorites, and for more than just the sheer novelty of it.
So yes, as a sculptural experiment that pivots around traditional knife making materials, this work certainly fits the bill. But step back a little further, and I think this work also embodies the bigger story I have been trying to tell about material progress and the ways that technologies always seem to trickle down into the arts.
I have spent my entire career making art that demonstrates how industrial processes (ones that are not traditionally thought of as art mediums) can be a primary source of inspiration for the making of fine sculpture. How if we look back far enough, many of the tools and technologies we readily accept as artistic mediums actually got their start on the factory floor rather than in the art studio. And that it is only when we are able to scale these technologies for individual use that they become more accessible to artist.
Thank you all again for following along, and the many kind and constructive conversations along the way.
As always, comments and questions are welcome.