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Introducing the Mazer (M3)

I know it hasn’t been long since my last post, but unexpectedly (even for me) I have completed the final installment in my Mazer (bowl) series. 

This work is a part of a triptych of bowl shapes. All of them loosely based around a Mazer, which is an ancient drinking vessel that typically had a boss in the center and a flat foot on the bottom.

Mazer's also had a wide array of gilding and decorative elements that made them kind of impractical. This is of course appealing to me as a sculptor, as I like it when aesthetics take precedent over usefulness.

The main bowl form of the M3 is made of stabilized maple burl with a blue dye added to the stabilizing fluid. The metal details in the piece are machined out of aluminum, then finished and anodized with a warm champaign copper color.

Both of these colors play very differently depending on the light. The Maple can sometimes seem more green than blue, and the copper can appear pinkish to a brassy-yellow against the blueish maple when viewed in warm light. It is really interesting to observe, especially if you are into color theory.

The progression with the set is interesting too.

The first Mazer in the series (M1) was kind of an accident. It was made from a repurposed and slightly damaged piece of Desert Ironwood that came out of my SKB (sculptural knife Bowl) project.

It is very hard to find ironwood in this size, so I didn't want to scrap the piece. Instead I decided to have some fun with it as a side experiment. I didn't think much of the end result at first, and I didn't even properly photograph the piece until much later. It doesn't even have an official blog post. But after a time I realized there was more there, and so when the need for some additional wood experiments came up, I knew I had something worthwhile I could pursue.

Looking at the M1 in the context of the triptych, this first work seems almost rustic and kind of chunky. Functionally speaking, it is the most utilitarian piece. I think it is great starting point for representing how craft forms can diverge from utility over time.

I don't feel I need to say too much about the M2 as I just posted about it a few short weeks ago.

The piece is still very much a bowl shape. but the decorative elements go a long way to thwart utility in favor of more sculptural appeal.

I also remain proud of how well my first attempt at stabilizing my own piece of Maple Burl turned out.

The M3 is the final work in the series. It is quite shallow for a Mazer. One could barely call it a bowl form at all, but it looks amazing.

Running with the idea that many utilitarian crafts eventually abandon function in pursuit of decorative and craft concepts, the bare minimum interpretation of a what a bowl could be won the day.

I think they are all great successes and I love how they each have their own unique nature.

Dimensions are 6.5" Diameter by 1"deep

Side Notes: As I alluded to at the top, that this work exists at all is a perfect example of the way a good work ethic can smooth out the emotional roller coaster of making art. When I closed out my last post two weeks ago, I wasn’t really sure if I was going to pursue this piece (at least not anytime soon).

I have written before that even if a piece is a triumph, I can sometimes feel a little deflated at the end of a project. I can intellectualize that I have achieved something. However emotionally, it is a much more mixed sensation. Many artist need a little time and space between themselves and their works to fully appreciate them.

Mentally, I was a little reluctant to dive right back into a new work of the same concept. Fortunately my working impulses don’t really give me much room to procrastinate. I went back into the shop (after a good night's rest) still thinking I would just focus on some projects that I already have underway, when I just happened to walk past the stabilized Maple blank I had prepared for this piece. 

I glanced at it—then before I had time to think it was in my hand—next thing I knew, I was turning it in my lathe.

Almost mechanically, I had started the work whether I wanted to or not. Such is discipline.

My work-habits often save me from hitting a creative wall. Because I have been practicing for so long, muscle memory can easily take over for me when my mind needs a little time to catch up. In this case, it wasn’t long before I was fully reinvested in this piece and excited to see through to the end. 

I find that my actions often lead my feelings in this way. It is another reason why I make art. It gives me the chance to step back and watch how my own mind works.

It is a cliche at this point that artist make work in order to understand themselves, and in the context of this single work, it is a lot to put onto a little wooden bowl. But for me it is true, and this idea comes up again and again as I work.

I think it would be wrong not to talk about it when talking about my work, so thanks for hearing my little confessions from time to time.

Note for collectors:

Now that this trio is complete, I am entertaining the idea of offering the set up for collection.

I am going to keep this low key, as it is my hope that I can keep the three works together as a triptych. If that is too much to ask, I will be quite happy to keep these little beauties in my personal collection. But if there is any interest, please just drop me a note and we can discuss it.

And of course, as always, questions and comments are welcome. 


Mazer (M2)

Hello Everyone

This work was just supposed to be a quick sketch. Something to help me as I learn the process of resin stabilizing hardwood. But as is always the case, the project grew and a month slipped passed, and now I have this wonderful Mazer style bowl to share with all of you.

Stabilizing wood is a process that both strengthens a piece of wood, and makes it dimensionally stable so that it can be utilized in more precision applications.

In previous projects, I relied on sourcing stabilized material from other skilled makers. But as my desire to make new shapes and forms grew, I quickly realized I had outgrown the sizes and shapes of material that were readily available. I approached a few people who specialize in stabilization with special requests and was alternately told that it was not possible, or not profitable, to make stabilized wood in the sizes and shapes that I wanted.

I could live with, "not possible" if it were true, but "not profitable" sounded like a silly reason not to do something, so I had to try it myself to see what was what.

The process is not terribly complicated and the setup relatively affordable if you have a small space to make a mess. It involves drying the wood, then placing it in a vacuum chamber while submerged in a special resin.

Under vacuum, much of the air and residual moister are pulled from the wood (you can never truly get all of it). After many hours under vacuum, pressure is returned to the chamber and the resin is forced deeper into the wood by normal atmospheric pressure and good old capillary action.

After a long soak, the wood is then placed in an oven where the resin cures and hardens. The result is a plasticized piece of wood that is perfect for machining and other fine craft work.

It is a fascinating process to learn, and I am simplifying just a bit. This work represents my first attempt at using a piece of wood from my own process. The wood you see is a piece of Maple Burl. It was stabilized as a 7" round and finished down to 6"diameter.

The metal details are all in Stainless steel. I went with a wooden bowl form because I just love the work of so many wood turners. But since I am not quite a wood turner myself, I went with a very ornate style of bowl called a Mazer. A far more decorative than functional object for sure. This is what happens when you give a machinist wood to turn I guess. 

Anyhow, this is the first step on my journey towards a much more ambitious piece. I have one more "small sketch" that I was planning, but considering how long this first one took, I might have delay that work for a little while. I am just not sure there is time in my current work flow. But we will see what happens.

Thanks for looking, and as always, comments and questions are welcome. 


SB 312222461


Hello everyone. I have been hard at work on a couple projects and this wonderful set of pocket sized sculptures is the first to make it across the finish line. 

In keeping with my recent forays into new materials, I decided it was high time I bring an exotic material into the mix that I have long appreciated. This material is colloquially known as "superconductor". 

Niobium–titanium superconductor art

I know some of you are familiar, but others are likely wondering what is superconductor? 

Well, there are actually many materials classed as having superconducting qualities, but in this case what I am referring to is Niobium-titanium filaments encased in a copper matrix

Niobium–titanium superconductor is a material that comes in many shapes and sizes. It is an industrial product primarily used in science engineering, but it has (unsurprisingly) acquired quite a cult following in the metal working and maker communities. 

Characterized by thin rods of what is essentially titanium, arranged within a larger body of solid copper, it is a metal that presents a sort of abstract grain structure. When machined into compound forms, it produces very predictable and pleasing patterns. The copper, which is susceptible to most acids, can then be etched or almost entirely dissolved, leaving the more resistant titanium rods intact to accentuate the grain pattern. 

There are machinist makers using this material for all sorts of fascinating decorative work. Knives, rings, and spinning tops to name the more prominent examples. This is of course exciting to me as a sculptor. I love it when artist co-opt tools and technology for their own special kind of cultural production. 

superconductor Niobium–titanium alloy

Superconductor is a difficult material to shape however, as the copper is pure, which makes it very soft and gummy, while the titanium sections are tough and prone to work hardening. This makes it hard to optimize for either scenario. 

Not to mention that titanium is flammable. If you chip a cutter and catch a spark wrong, you could be in for a small fireworks show. A little extra care to keep the work space clean and free of turnings is more than a good idea. 

But, if you are careful, you can pull it off without too much trouble. The results are very striking and quite worth the effort.

machined metal sculpture

Now enough about superconductor, because this all-stainless steel piece is also bursting with charm. I think it is an important part of the pair, as I wouldn't really have known the best way to approach the superconductor without it. 

Chris Bathgate Superconductor art

I actually designed this steel version as a sort of contrast piece, as a creative check for myself. I wanted to be able to compare the two and make sure my design was not solely dependent on the novelty of the superconductor to make the composition work.

Maybe that seems weird to some of you, but I reasoned that if the design didn't work in stainless, then perhaps I am relying too much on my exotic material to improve what is otherwise a mediocre composition.

machining metal art

As you can see, that just isn't the case. It's gorgeous. 

CNC sculptor Chris Bathgate

Another thing I hoped to achieve with this design is that I have been thinking a lot about the challenges of creating interesting interior spaces within my work. This was a sketch to help me with some larger work I have on the drawing board. 

I love using little pieces as test beds for bigger work. 

In the video above,  I explain some of the technical constraints that guided the design. Sometimes a video goes a long way in demonstrating what the heck I am talking about. 

Other times it just highlights how often I say "ummmm"!!!  (Oh well)

At just 1.3" tall or 33mm, these works are some of the smallest I have made.

Niobium–titanium and Stainless steel art

Note for collectors: As has become customary, I will be offering these works up as a one time limited edition.

superconductor fine art

You will be able to acquire them as a pair, or individually in all stainless steel or superconductor. Pricing and all relevant details of the sale will be posted at the time of sign up.  (please note that superconductor is a considerably more expensive material and this will reflect in pricing) 

The sign up will go live on Wednesday March 2nd at 11 AM EST. It will run for just a few days, or until I determine my books are too full. 

I will post the sign up link to my email newsletter, here on the blog, as well as on my instagram page. It should be a fun project!

Digital fabrication fine art

As always, questions and comments welcome.