Captives #B04

Documentation from artist Quayola of a stone sculpture being formed with an industrial robot to create a work combining the contemporary and the classical:

Captives is an ongoing series of digital and physical sculptures, a contemporary interpretation of Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”.

The work explores the tension and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. Whilst referencing Renaissance sculptures, the focus of this series shifts from pure figurative representation to the articulation of matter itself. As in the original “Prigioni” the classic figures are left unfinished, documenting the very history of their creation and transformation.

Mathematical functions and processes describe computer-generated geological formations that evolve endlessly, morphing into classical figures. Industrial computer-controlled robots sculpt the resulting geometries into life-size “unfinished” sculptures.

More Here


2015 Pier 9 Artist in Residence Exhibition

A look at artworks created at the Pier 9 workshop run by Autodesk, which offer state of the art facilities and seeks to explore the future of artmaking - video embedded below:

This exhibition celebrated the community and work created by the Autodesk Artist-in-Residence Program at Pier 9. Featured projects include work created by digital fabricators, fine artists, architects, furniture-makers, chefs, and a host of other creatives who have passed through Pier 9’s residency program over the past year. The exhibition included over 40 artists and more than 70 works, all of which were installed across the Autodesk Pier 9 Workshop, including in the CNC labs, 3D printshop and test kitchen.

The Pier 9 space is currently taking applications - you can find out more here

Rahkai’s replacement horns, FINALLY done.

These are made from EVA foam (carved) with surface texturing done in various dimensional glues and paints. The texturing took absolutely forever. I definitely want to offer carved foam horns as an alternative to cast resin horns, where something non-rigid and light is preferred over high detail, but I want to warn everyone right now that it won’t necessarily be the cheaper option!

And the whole xr650. We made a completely new rear sub frame, seat pan, battery tray, handmade the fender, and mounted the gas tank as well as the exhaust in the last post. #xr650 #honda #hondaxr #xrsonly #streettracker #tracker #hooligan #motorcycle #custombikes #fabrication #tigwelding #metalshaping #englishwheel #ironcobras (at Iron Cobras Fabrication)


Elastic Textures for Additive Fabrication

3D printing research into a method to design forms which change shape in a determined way when pressure is applied:

We introduce elastic textures: a set of parametric, tileable, printable, cubic patterns achieving a broad range of elastic material properties … Using a combinatorial search over topologies followed by shape optimization, we explore a wide space of wireframe-like, symmetric 3D patterns to obtain a small family. This pattern family can be printed without internal support structure on a single-material 3D printer and can be used to fabricate objects with prescribed mechanical behavior. The family can be extended easily to create families of anisotropic patterns with target orthotropic properties.

More Here

Henri Cartier-Bresson. SOVIET UNION. Russia. Moscow. 1954. Zis factory. The bicycles production by Tatiana Gorbutovich
Via Flickr:
SOVIET UNION. Russia. Moscow. 1954. Zis factory. The bicycles production. <a href=“http://www.magnumphotos.com/image/PAR96466.html” rel=“nofollow”>www.magnumphotos.com/image/PAR96466.html</a>


This is a pretty broad view of how I generally make armor, using Cullen’s lower arm pieces as examples. It’s not really a tutorial because I almost never remember to take enough pictures of anything to make a real tutorial, but you get an idea of how I work and you can always ask me questions about the process too. 

I go from sketches to templates to foam. I then sandwich the foam between sheets of worbla and heat form those pieces to my body. (I don’t always use worbla and sometimes just stop at craft foam. It depends how durable I want the armor to be. For Cullen, I wanted someone to be able to punch me and me not feel it, because that felt right.) Then I build up details in worbla, Friendly Plastic, and smooth the edges with wood filler. Not pictured is the week of 8 layers of gesso that go on next and the subsequent sanding until your hands fall off because those are my least favorite steps and take forever. After that I get to pull out my dremel and craft knife and add battle damage. Finally I finish with painting, which is usually a build up of 5-10 layers of paint and shading depending on how detailed the project is or how neurotic I am that day. 

Mods/fixes and improvements to Rahkai: Finished carving and painting a new tail blade in EVA foam, with all other horn pieces rough-cut and ready to laminate tomorrow. I’m really happy with how it’s turning out so far, and hoping that it will be a much lighter-weight, and snap-proof solution than the cast resin horns and fabricated PVC tail blade from before.