The son of a civil engineer and a mathematician with a love of nature and wildlife, I spent much of my time walking construction sites or the local zoo. I left home to study architecture and explored new media and subject matter. I created a sketch study of movement and shadow, fascinated with how minimal an object could be and yet translate a form so much greater than itself. When I began to explore metalwork and sculpture, the idea of art utilizing every ounce of itself to obey form and function, to perform and to be alive, took on new life in stainless steel and copper kinetic sculpture.
Over the past 20 years, I have worked with movement and form. There is a certain fascination with being able to create a form with basic fluid elements that may come fully to life with the intuition and imagination of the observer. Designs for each rotational sculpture start as a basic line drawing with attention to the visual flow of elements. As a design develops, the relationship between concept and materials becomes more important. The intent is to create a fluid, figurative image using the minimal amount of material. While the materials are of themselves hard, the aim is to soften them and have them almost dance as they move and reflect. To this end, the smoothness and speed of the counter balance point plays a critical role in the visual affect the work will have in motion.
The design is transferred to actual size on a board with concentric circles designating rotation of the various elements. After this basic layout is complete, the raw metal stock is cut, measured, weighed and milled for the anchor components. Various counter weights made earlier are used for testing the balance points of the assembly. This is a process of checking different sized pieces for their weight and position to achieve a smooth rotation and match to an exact position of horizontal balance.
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