Kinetic Sculpture

Kinetic Sculpture

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Kinetic Sculpture


A six foot circular cast iron table is perfect to gather around for conversations. If one drops a glass on it there’s no doubt it will shatter. Tonight me and three kinetic sculptors will gather around the table to eat and discuss matters of sculpture. Where it is moving and what the best parts of it there are.

Wm Dubin is on a plane from Ireland right now. He is an excellent craftsman who’s been around for a long time, since the abstract expressionist movements of the early 1950’s. His work is quite elusive, it has never been collected by anyone. He is somewhat like William Blake. He’s an older man now, he’s got hairy ears. Keeps to himself. People I’ve talked to say he can be found wandering the streets of industrial zones, top hat and cane just staring at the steel ghosts of the Irish industrial era. This is where he pulls most of his inspiration. Its always hard to please old people, they must have things their way, they’re just used to it. My guess is that he probably eats like an old factory worker. Mashed potatoes, stew, beef stuff that a factory worker eats after a hard days work.

His sculptures look like industrial parks fit for a world of people a quarter inch tall. There is gears, motors, engines, and polished pipes that lead to unknown places. The constant sound of electricity and firing of pistons all in uniform motion. He has such skill at precision tuning he could have been an excellent machinist. He believes in balancing technical skill and creative intuition. In the 1950’s this was looked down upon by the schools and artists, due to the abstract expressionist movement. Dubin was considered the enemy, his sculptures were polished, technical, and functional and in a school were free expression and uselessness of methodical approaches were embraced Dubin was an outsider. Maybe this is why he keeps to himself.

The American

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Related Searches

123helpme.com/search.asp?text=kinetic">kinetic sculptor Tom Berwitz will also be joining me. He creates everything, he seems more like a supplier of art than an artist. If the demand is there he will supply it. Tom makes paintings, light paintings, indoor sculpture, outdoor sculpture, and most important kinetic sculpture. From what I hear he is always busy. He’s so busy I wouldn’t be surprised if he made his own dinner to bring tonight. I would guess he bring something expensive to eat, like a lobster or some foreign food. Either way he is the most prominent of all sculptors attending tonight, some would say this makes him a better sculptor. He probably thinks this is true.

David C. Roy, his name sounds like he’s part of some hip New York art crowd, who will be joining me works mainly in wood. A kinetic sculptor who creates delicate objects that spin around using tiny springs and wheels. These creations are hard to describe, one would have to see them in motion to get the full experience. They relly on humans to make them move initially, you wind them up and some keep in motion for up to 24 hours. No electricity, no batteries. David names these sculptures randomly and usually gives them a whimsical label. Like Berwitz his work is designed to sell. He will make the same sculpture up to 500 times, almost like they are knick knacks people should purchase and proudly display on their wall. They are so revolutionary I think people are having trouble accepting them as “art”.

In every photograph I’ve seen of David he’s wearing the same blue shirt. Maybe he has a whole closet of these. Albert Einstien used to do this and It is definite that he did have a whole closet full of the same outfit. Like Einstien, David got a degree in physics and probably knows a lot about motion and the way objects generally work. I’ve come to understand that he would like foreign food, Indian food or any food from a various country who’s name i cannot pronounce. I’ll go to a restraunt, order food to go then heat it up for him without him ever knowing.

There is really no way to tactically separate my guests when sitting around a circular table. That’s four people and if I made to people sit far from eachother that would make every body uncomfortable so I just show them in and let them choose where to sit. I would feel strange directing a man three times my age where to sit at a round table. The lights are very dim and the only source of light comes from directly above the table, its almost like we in a smoky old pool hall except Motley Crew isn’t playing on the radio. The conversation starts on the subject of the choice method of motion in sculpture. Everyone here uses different forms of motion except me and Dubin which stick to the gear, motor, and chain.

“The aesthetic motion of the engine is far greater than any other kinetic” , Dubin says in a strangely harsh tone.

I think Dubin has been drinking before he came. By the sound of his voice its apparent that he has smoked too many filterless cigars. Probably had his fair share of whiskey as well, which he’s currently working on expanding. I think Dubin one up on me when it comes to this subject, the engine, I don’t really know how they work. So I just agree.

“There is a certain feeling one gets from listening to the precision of an engine” I comment. Dubin thinks that the motion of the engine is erotic. His sculptures have these long shafts that fluxate in and out of greased pipes at about 5 rpm, and if one is having trouble figuring out this speed it would be understood easiest by just reading the previous sentence.

Through the cigar smoke I can see Tom, he is asking me If I have any small sporks to eat the flounder he has brought with him. I tell him no so he goes back to using his fork. Tom’s kinetic sculptures run off the earths natural energy of wind. Which means that in the catastrophic event of all man made energy ever failing his sculptures would still be functioning.

“What happens to your sculptures during a power outage?”, Toms looking at Dubin. He knew the answer before he asked the question.

Dubin sets down his glass of whiskey, blows a fair amount of smoke into Tom Berwitz’s face and smugly replies:

“What happens to your sculptures when there is no wind?”, Dubin’s got a point.

This conversation was going nowhere so I decided to begin conversation with David Roy about how he came up with his unique form of motion. I find his sculptures the most innovative out of the four of us.

“It took me four years to work out all the kinks and find the correct materials before I was successful”, Roy comments. He doesn’t even notice that his food isn’t home cooked or maybe just doesn’t mention it.

“ I guess a degree in physics helps out a little bit when working with this kind of long term motion”, I say filling time. Now Dubin wants more mashed potatoes. He has already ate all the mashed potatoes and drank the amount of whiskey I had.

I would talk about painting with Berwitz but that would bore Dubin and Roy. When talking to sculptors the art Painting is looked at more like a pretty thing, it doesn’t function and it is an imitation of three dimensional space while sculpture is three dimensional space. Tom’s paintings don’t interest me any way. The meal is over and the talk of motion and sculpture has dwindled down and become small talk. Dubin says he is feeling sick, he shouldn’t have drank all that whiskey. They all decide to split a taxi fare across town to their hotels. I did not learn much about kinetic sculpture, art is one of the hardest things to learn through simply talking. I am glad I got a chance to meet sculptors who are interested in the same thing as me regardless if I learned anything at all.

Works Cited

Brewitz Kinetic Sculpture work Directory. 2001. Cornermark. 28 Oct.
www.cornermark.com/kinetic/

Mechanomorphic Sculpture the Kinetic Art of Wm Dubin. 2001. Web Xdesign.
28 Oct. www.mechanomorphic.com/

Wood that Works by David C. Roy. 2001. 28 Oct. www.woodthatworks.com
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