December 4, 2015 - January 30, 2016
ARTIST STATEMENT BOOK presented by
Wayne Art Center
EMERGENCE: Craft + Technology features the work of the following artists: Christine Alaniz (PA) Christopher Bathgate (MD) Doug Bucci (PA) Ashley Buchanan (TN) Ryan Buyssens (FL) Taylor Caputo (PA) Emily Cobb (PA) Lia Cook (CA) Emily Culver (PA) Maria Eife (PA) Future Retrieval (OH) Joshua Harker (IL) Nicole Jacquard (IN) Jimin Jung (PA) Rod McCormick (PA) Antonio Pio Saracino (NY) Wen Redmond (NH) Michael Rohde (CA) Rea Rossi (PA) David Rozek (PA) Adrien Segal (CA) Janice Smith (PA) Phillip Stearns (NY) Rebecca Strzelec (PA) Anthony Tammaro (PA) Rich Tannen (NY) Aaron Trocola (NY) Elleke van Gorsel (the Netherlands) Catherine Wales (NY) Kimberly Winkle (TN)
DEFINITIONS Emergence: Craft + Technology highlights art created using new techniques that might not yet be familiar to all viewers. Many of these techniques are often referred to by abbreviations. Here is a quick primer of some of the phrases used in this exhibition.
3D printing (additive manufacturing, rapid prototyping): The process of synthesizing a three-dimensional product from a CAD-CAM design. The object is built up in thin layers (hence the term additive manufacturing), which are set in one of several ways, including cooling, UV curing (for photopolymers), and laser sintering. With 3D printing, no specialty tools are required to make complex forms and there is no waste material left over from the process. 3D printing materials in Emergence: Craft + Technology include photopolymers, nylon, wax, and ceramic slip. 3D scanning: The use of lasers or structured light to capture the 3D surface of a physical object, converting it to data. 3D scans can capture high levels of detail and resolution, resulting in an intricate digital model. Computer-aided design (CAD): The use of computer programs to create 2D or 3D representations (images or designs) of physical objects. Commonly used CAD programs include AutoCAD (for 2D and 3D drafting), Rhino and SOLIDWORKS (for 3D designs). These designs may be precisely produced using CNC or additive manufacturing methods. Computer-aided manufacturing (CAM): CAM software acts as a bridge between CAD and CNC, taking the data produced in CAD programs and translates it into the programming languages used by CNC machines and 3D printers. CAD and CAM processes are often condensed into the shorthand CAD-CAM. Computerized numeric control (CNC): The automation of machine tools to precisely replicate a CAD-CAM design. CNC may be used to reproduce many traditional machining techniques, including drilling, milling, routing, embroidering, and more. An advantage of CNC manufacturing is that it can be used to produce exact multiples of any design. CNC techniques are primarily subtractive processes (removing material), while all methods of 3D printing are additive. Digital printing: Two-dimensional printing (usually using ink) of a digital image. Jacquard weaving: A weaving process which uses an automated control mechanism to produce textiles with detailed patterns and designs, like Phillip Stearns’ Fragmented Memory series. Photogrammetry: The science of making precise measurements from photographs or 2D images. Using photogrammetry, photographs taken from multiple angles of an object can be used to produce a 3D model, as in Future Retrieval’s Grand Theft series. Responsive programming: The use of programming to make a computerized or mechanical object responsive to external input. This input may be digital (as Taylor Caputo’s phl-sfo responds to her texts and emails) or physical (as Ryan Buyssen’s Resistance flutters when viewers walk by). Selective laser sintering (SLS): A form of 3D printing that uses thin layers of powdered polymer which are fused (sintered) in cross-sections using a laser. Similar is direct metal laser sintering (DMLS), which uses metal rather than polymer.
Christine Alaniz Philadelphia, PA
Diatom02, $225 Cochlea01, $400 Ocellus02, $500 Ocellus03, $500
Primary Techniques: 3D printing, casting In my jewelry, I focus on exploring and manipulating natural forms. I draw inspiration from the structural integrity of botanical and biological forms such as bulbous orchids, ribbed shells and skeletal diatoms. Using a variety of materials including glass, plastic, silver, and gold, I transform exotic and elusive objects into beautiful, wearable pieces of jewelry. I use digital processes to explore form and pattern in ways that no other process will allow. Taking advantage of the lightweight quality of 3D printed plastics and resins, I create large yet lightweight jewelry that is well suited to the scale of the human body. In a nod to the traditional aspects of my craft, I continue to incorporate materials such as metal and gemstones, always seeking to find the appropriate balance between these and more modern materials.
Christopher Bathgate Baltimore, MD
Ja 552354454, $16,000 sculpture / $850 drawing MV 714425525321621, $1,950 sculpture / $135 drawing MM615535332245, $8,350 sculpture / $750 drawing V424213333, $7,500 sculpture / $675 drawing
Primary Techniques: CAD-CAM, CNC machining, anodizing As a self-taught machinist and CNC machine builder, the tools of my craft have become the conceptual foundation for my visual ideas. My works are not conceived in a top-down fashion. Instead, I begin each work with only a loose concept or visual goal, and then allow the technical constraints of my process and equipment to guide the work to its final form. This “logistics first” approach allows the fabrication process to have a major influence on my creative output, rather than being a means to an end. I often play on industrial design motifs and experiment with ideas around our relationship to engineered objects. The internal logic of each sculpture suggests intentional design, which in turn implies utility; however, the work is static and ambiguous. As an art object, it refuses to fully transform the medium, making each sculpture feel like an irresolvable paradox, full of implied yet undefined purpose. Machine work is a discipline that requires constant innovation to realize one’s creative goals. It is this innovation that fuels future creative insights. For me, it has become a self-sustaining exploration of a craft that, given its ubiquity in modern life, is enormously underrepresented as an art form.
Doug Bucci Philadelphia, PA
Islet | MorphoKnot Bracelet, $900 Islet | Black Sectional Neckpiece, $8,000 Islet | Red Stackable Bracelets, $900 ea
Primary Techniques: CAD, 3D printing My work is a confluence of art and science, as much of the work that I create as an artist reflects my personal journey as a diabetic. I have been conducting research, creating data, and utilizing computer aided design processes to explore and display biological systems and the effect of disease on the body. I use anatomy, cellular structures and biologic functions as inspiration, and I use biological data, resonant imaging and emerging technologies to create. I am researching how biological processes can be transformed via digital technology into meaningful, personal, wearable art. Data can be manipulated into tangible forms through my use of CAD to produce such objects. I can also envision these tangible visualizations helping people to maintain optimal health and well-being. These objects function in the highly traditional purpose of jewelry as personal expression, while incorporating emerging health technologies with CAD technology. It is important to look outside of traditional means of making and derive inspiration from the newest technologies. Computer aided design (CAD) technologies are traditionally associated with industrial processes; however, I view the digital medium as one that allows for a creative freedom unfound in traditional analog methods. These processes allow me the manipulation of form, making it exceptionally valuable in my practice. I represent current practice in the field by integrating traditional forms of Craft, Art and Design with this powerful technology.
Ashley Buchanan Johnson City, TN
Bow with Button Brooch, $350 Earrings with Gemstone Buttons, $350 Folded Bangle—Cream, $150 Folded Bangle—Black, $175 Gradient Chain, $1,200 Iconic Silhouette Neckpiece, $650 Neckpiece with Three Gemstone Buttons, $450 Red on Red Neckpiece with Gemstone Button, $350
Primary Techniques: Digital printing, hand cutting, powder coating My work is a series of hand-cut, powder coated metal that focuses on image, pattern and decoration in order to reference ornamentation and historical jewelry. As a maker, it is my intention to challenge the conventions of handmade jewelry through the use of inexpensive materials and new approaches to design and surface decoration. I am interested in a reality that exists through images and representations and how the appearance of an object can substitute for the original. Utilizing silhouettes allows me to reduce these images down to their most basic form and reference the history of jewelry with a clean, contemporary aesthetic. This is reinforced through the use of powder coating, a process commonly used on an industrial scale to coat or color large metal objects with a durable, uniform finish. By using a limited color palette of black, white, greys and the occasional pop of yellow, I am able to allude to common colors of metal such as silver, gold and oxidized metal. In select pieces, I specifically reference a particular piece of jewelry by introducing digitally scanned photographs, which have been made into inexpensive buttons. These buttons are then prong set onto the final object in order to mimic the original presence of a gemstone. By combining the handmade with the industrial and the digital, I aim to produce pieces that speak to the past, present and future of Craft while maintaining familiar identity between the viewer/wearer and the object.
Ryan Buyssens Orlando, FL
Intertrope Base Unit with Animation Experiment #3, $6,000 Resistance, $4,500 each Primary Techniques: CAD, 3D printing, laser cutting, robotics, CNC machining I was born and raised near Detroit, MI; an environment that imparted a rich, lifelong influence from the automotive industry’s mechanized culture. An artist in the broadest sense of the word, I express my ideas through countless media. Preferring to explore the “what if” in the evolution of technology, I seek out a departure from the logical path of invention and use it as a branch that sprouts new possibilities. My work becomes a comment on logic and progress. Obsessed with old movie cameras, clocks and other time-related mechanizations; I set out to combine the moving image with sculpture. In this quest, I created the Intertrope ; a kinetic sculpture that resembles the zoetrope yet is an entirely new, contemporary animation device. It has the ability to animate 2D and 3D objects without need for special viewing aids. Recently, my direction has focused on motion and how it relates to interaction. The result of which is Resistance. Crafted from 3D printed, CNC machined and laser-cut parts; it is time-based, interactive, mechatronic sculpture that emulates the kinematics of a bird’s wings. A series of these mechanical birds are mounted to a wall and flap in response to the viewer’s movements within the space. The objects simultaneously invite and intimidate with their graceful, fluid motion contrasted by the direct reactivity of their activation. This experience between the viewer and the piece translates a sense of separation. The birdlike machines act in opposition to the viewer’s perceived freedom within the space. They become a disconnection to one’s perception of autonomy.
Taylor Caputo Philadelphia, PA
MakerBites, educational kit, $1,200 phl - sfo, $1,400 Watering Can, 1,200
Primary Techniques: 3D printing, responsive programming In my work I utilize my background in craft and fluency in both handmade and digital processes to produce working prototypes of physical products. I derive inspiration from my own extensive design research into contemporary educational models of teaching making and craft, as well as the tension that digital versus analog processes play in my life today. Central to my work is also the integration of emerging technologies and materials from the craft field as well as from mechanical engineering, food science, and electronics. The pieces I produce currently exist as one-off objects but inherently hold the possibility of multiple and even mass production, especially as rapid manufacturing techniques are now more accessible than ever.
Emily Cobb Philadelphia, PA
Become Undone: The Dove, $1,200 Become Undone: Garden Snakes, $420 Dry Up: Tropical Fish, $740 Thaw Out: The Dark Frog, $280
Primary Techniques: 3D modeling, 3D printing, lost wax casting Personal fables inspire each of my illustrative jewelry pieces and they often contain animals as central parts of the imagery. When the body becomes part of the composition it animates the work, and I want this interaction to spark creative discussion and dialog. Through the juxtaposition, metamorphosis, and abstraction of representational forms, I intend for my pieces to captivate both the wearer and the viewer’s imagination. My latest series of work takes place in an alternative reality where living creatures show signs of aging in unusual ways. Some animals unravel like ribbons as they grow older, until they completely come undone. Others dry up over time; the surfaces of their bodies cracking apart like riverbeds during a drought. Considering the impact these strange forms of aging must have on daily life helps create the composition for each piece. A bird’s long, flowing feathers soar gracefully through the air. Snakes with uncoiled bodies are woven together like ropes into deadly baskets. Even a fish completely immersed in water cannot quench its old, dried-up scales. In this parallel universe aging proves beautiful and haunting, which in the end is not far from the truth.
Lia Cook Berkeley, CA
Doll Brain Tracts, $26,000 Su Inside Outside, $24,000 Tracts and Traces, $30,000 Tracts Past, $28,000
Primary Techniques: Photography, neuroscience imaging, data visualization, weaving, embroidery I work in a variety of media combining weaving with painting, photography, video and digital technology. My current practice explores the sensuality of the woven image and the emotional connections to memories of touch and cloth. Working in collaboration with neuroscientists, I am investigating the nature of the emotional response to woven faces by mapping in the brain these responses and using the laboratory experience both with process and tools to stimulate new work in reaction to these investigations. I am interested in both the scientific study as well as my artistic response to these unexpected sources, exploring the territory between scientific investigation and artistic interpretation. Recently I began using DSI Diffusion Spectrum Imaging of the brain and TrackVis software from Harvard to look at the fiber connections of communication between parts of the brain and to integrate these fiber tracks with the actual fiber connections that make up the woven translation of an image. In one case, I have included in an exhibition a participatory behavioral study (voluntary). I will be collecting data for scientific analysis at the same time as my audience is engaging directly with the work. I
Emily Culver Danville, PA
Before the Burgeon Ring, $700 Cast Lure Earrings, $850 SOLD Protruding Blooms Brooch, $900 Wilting Bounty Neckpiece, $950
Primary Techniques: CAD-CAM fabrication Each piece of this collection is made through the combination of ethereal silhouettes and materials, with the ultimate goal of producing a peculiar feeling of enticement to the handler or wearer. I find great interest in the special engagement that occurs with objects that flex unexpectedly, hide secrets or become mobile; how we find pleasure in such quiet simplicity. My current direction abandons the conventional jewelry mechanism of the pin, the hinge, the post and the clasp, for a more organic means of attachment. With attention to the inherent properties of each material and the possibility for manipulation, I aspire to create entities that do not quickly associate themselves with jewelry and objects, but rather appear to have just come into existence; inviting an imaginative scenario of being, unspecific whether of land, sea or a microscopic realm. With the use of traditional jewelry techniques, 3d printing processes and array of materials, the formation of my mixed media works parallel how the natural world cultivates itself. Because of my lifelong interest and careful observation of biological organization, the development of my obsession grew into organisms of my own creation; breathing a richness of life into each piece.
Maria Eife Philadelphia, PA Donut Grid Pendant, $275 Grid Bangle, $350 SOLD Grid Drop Earrings, $290 Grid Drop Pendant, $275 Grid Egg Pendant, $275 Grid Post Earrings, $280 Sphere Cage Ring, $250 Star Cage Ring, $250 Structure Bangle, $465 Totem Drop Earrings, $290 Primary Techniques: CAD, 3D printing, casting Maria Eife is a Philadelphia-based jewelry designer and maker. She graduated in 2000 from Tyler School of Art with a degree in Jewelry/Metals/CAD-CAM. Her business was launched in 2010 with the Binary Collection, a line of laser-cut wool felt jewelry using binary code as a design element. Her work has been featured in Lark Books 500 Felt Objects and American Craft Magazine. She was awarded the Editors Choice Award the World Maker Faire in 2011, and has been an invited artist at the American Craft Council Show, CraftBoston, and the Martha Stewart Holiday Craft Show. Using new technologies combined with traditional craft skill and values, I create jewelry that is an exploration of materials, processes and structure. My most recent collection, Loops and Cages, is the result of virtual, threedimensional play. Using CAD software, I create complex forms that are reproduced in plastic and metal. 3-D printed nylon is a flexible, and lightweight material suited perfectly for jewelry. The precious metal line is designed in the same fashion, but is then printed in wax and cast using the lost wax technique. Ultimately, my goal is to create elegant, playful and structurally complex adornments that compliment the wearer and intrigue the viewer.
Future Retrieval Guy Michael Davis & Katie Parker Cincinnati, OH
An Epic Adventure, $900 Grand Theft Lion, $1,600 Ornamental Feeder Rat, $900
Primary Techniques: Photogrammetry, 3D scanning, 3D printing, hand finishing The objects presented merge the strengths of our studio practice – a dark vein backed by a historical current. Ornament and detail collide with a fascination of taxidermy and natural order. Each object contains a history, reaching back and highlighting ideals of time and labor. Since 2008 we have been working in collaboration together to develop a unique aesthetic, a look that falls in between the worlds of art and design. Our process is in the conceptualization, discovery, and acquisition of form – lately objects of art historical significance. We use digital imaging that includes 3D scanning, CNC milling, and rapid prototyping to scale up or down with exacting precision, transforming our collected objects into the ceramic medium. Mold making, including working with plaster, rubbers, and high-density foam bring these digital processes to life in our studio, allowing for exacting replication. Lastly, once we have these forms, we can recontextualize, compose, alter, and ornament - bringing the work into a 21st century dialogue with history. Our intention is to make content loaded sculptures that reference design and are held together by craft. We incorporate an interdisciplinary approach to our work whenever possible, striving to make the historic objects that influence us relevant to today. The interest in new technologies and industrial methods is that each piece is handmade, but maintains the record of a computer driven interpretation.
Joshua Harker Chicago, IL
Coleoptera Filigre, $900 Crania Anatomica Filigre, $1,500 Mazzo di Fiori, $2,100 SOLD Sublimation Erotique, $380 SOLD
Primary Techniques: 3D Printing My art is about pushing the limits of form… an exploration into what can be made and how to accomplish it. I incorporate digital tools, software and technology in my work not only out of utter necessity in the forms I make but also that I feel absolutely compelled to make art with it, to humanize the inhuman as we’ve done with stone, clay, metal and wood… digital data as a medium, computer as chisel and 3D printer as forge. Bolstered by the advent of sculptural softwares, 3D printing technologies and material engineering, my visions are now able to be realized sculpturally in archival materials. Never before have forms of this organic complexity been able to be created. This boon of technology is a revolutionary time for the arts and one which will be boldly marked in history. I am honored to be considered one of the pioneers in the medium.
Nicole Jacquard Bloomington, IN
Pink Passion, $1,200 Spring Fling, $1,200 Annual, $800 Lilly White, $900 Primary Techniques: CAD-CAM, rapid prototyping, die forming, laser etching, sewing, enameling The souvenir speaks to a context of origin through a language of longing, for it is not an object arising out of need or use value; it is an object arising out of the necessarily insatiable demands of nostalgia. Within my work I am interested in exploring the themes of; the souvenir, ornamentation, memory, longing, and nostalgia associated with the collection of personal objects. I am interested in how ordinary everyday objects transcend the mundane through the association of memory thus becoming personal and precious. The most recent body of work I have created is from a series called High Tech/Low Tech. It is a mixture of additive Rapid Prototyping processes and the subtractive processes of Computer-Aided Machining including; 3D color printing, Fused deposition modeling, laser cutting and engraving, and the use of a 3D doodle pen. All of the work was created with the aid of the computer in some way or another – whether it was for layout of templates, creating dies to press out metal shapes, cutting shapes, etching surfaces, or modelling objects that were then printed in three dimensions. By combining computer-aided design, computer-aided machining and rapid prototyping my work also explores the ideas of what it means to be made by hand in contrast to mass production and the future of mass customization.
Jimin Jung Philadelphia, PA
CONDEMN, $650 INTERIORITY, $650 SIGMA, $850
Primary Techniques: 3D modeling, 3D printing, casting, hand finishing My design practice is informed by modernism and minimalism and driven by material exploration. I utilize both traditional and contemporary designing and making skills to bring form to my artistic vision. Instead of making works from found objects, every element of my jewelry has been designed and engineered from blank blueprints. All of my jewelry is comprised of multiple geometric elements and married into abstract modules that repeat in order to create an elaborate form. The design process then pushes the limitations and error range of the technology I am using to achieve a dynamic form composed of simple elements.
Rod McCormick Philadelphia, PA
Aponogeton (gold/bronze), $300 Aponogeton (nylon), $180 Fiddlehead (gold/bronze), $280 Fiddlehead (nylon), $170 Staghorn (gold/bronze), $280 Staghorn (nylon), $160 Varniskes (gold/bronze), $250 Varniskes (nylon), $160 Primary Techniques: CAD rendering, 3D printing I like resistant media. Pushing against a recalcitrant material forces one to define and clarify one's ideas. As an art school student I took to metal and to this day there is nothing I like better than beating metal sheet with hammers and chasing tools. In the early 90's computers and 3D modeling software became affordable to individual artists. My first use of computer-aided-design was pragmatic. I wanted a faster method of sheet metal pattern development for large forms I was making out of welded steel sheet. The computer modeling programs intrigued me, but only a fraction of the capabilities were useful to me. Much of what could be done remained locked in the machine—one could make pretty 2D pictures, but those 2D images were not much help in making a 3D object. And I am a 3D object maker. To my surprise, 3D printing suddenly went from expensive science fiction technology to expensive everyday technology. And then to only somewhat expensive technology. Now it is quickly becoming just everyday technology. Jewelers were uniquely poised to pioneer the use of digitally assisted making. Many of us, for instance, carved waxes and sent those waxes to be cast in metal by specialist companies. So emailing a file to a 3D printing service bureau was not much of a leap. I'm currently working on a series of 3D printed jewelry. What drew me to metal, to Craft, was the idea of thinking through making. The possibility of finding ideas in material and process. I respond to computer modeling programs in a similar fashion. My work is inspired by the personality of the software; the pieces are improvisations of non-materials and process.
Antonio Pio Saracino New York, NY and Rome, Italy
Hexa Lounge Music Collection—Bracelet Music Collection—Earrings Music Collection—Necklace Music Collection—Ring
Primary Techniques: CAD rendering, metalworking, fabrication Antonio Pio Saracino is an Italian-born architect and designer based in New York City. In 2003, Saracino graduated cum laude with a master’s degree in architecture from Rome’s “La Sapienza” University of Architecture, where he worked as an assistant professor of architectural design. That same year he became a European licensed Architect. After graduation he worked with several Italian and U.S. architectural firms, including Massimiliano Fuksas in Rome. Saracino has designed buildings, monuments and products in different industries. His work is part of the permanent collections at several museums, including: the Brooklyn Museum, the Museum of Art and Design in New York and the Powerhouse Museum in Sydney. Saracino is a four-time winner of Interior Design’s Future Furniture design competition was named one of the world’s “25 most interesting trendsetters” by ARTnews and was recognized as one of the “Top Ten Italian Architects Under 36” by New Italian Blood.
Wen Redmond Rollinsford, NH
First Light, $4,275 Into the Silence, $1,225 Pause, $1825
Primary Techniques: Photography, Photoshop, digital fabric printing, sewing, bookbinding CONTEMPORARY ART IN FIBER- MAKING THE IMAGINATION REAL An unusual use of fiber combines painting and digital media. “Fiber art has sustained my creative impulses since 1973. It is a fluid and expanding art form. I enjoy pushing the boundaries to see ‘what if’.” Wen Redmond is a mixed media artist whose work embraces several media including digital processes, surface design, and collage. Wen delights in creating dialogue, changing your perspectives and perceptions of fiber. She works intuitively, encouraging ‘flow’, experimentation and the inner muse in her workshop participants. Wen has created several signature techniques; Digital Fiber, Holographic Images, and Serendipity Collage Technique.
Michael Rohde Westlake Village, CA
Dream, $4,500 Interbeing, $4,000 Marwea, $3,500 Yanomano, $4,000
Primary Techniques: Photoshop, dyeing, hand weaving Technology has always played a part in my design process, much more so with recent work. As a hand weaver, I’ve always let the grid of the woven surface inform my design choices. Hence, most weavings contain right angled geometric elements. This means that for the most part, the imagery has been abstract, and designed on the computer, though woven by hand. The current work has taken a turn toward realism. The starting point for these tapestries are photographs of faces. Using Photoshop, I reduce the cropped face to a new image, twenty pixels wide. This new image is scaled up as a plan to weave. The weaving uses ‘pixels’ an inch and a half square, with approximate edges and colors that are close to the original photo. The end result are images that bridge the gap between abstract and representational, and often cannot be ‘read’ when too close to the actual tapestry. Distance, or more often a cell phone image of the tapestry reveals an approximation of the original face. What has amazed me about this whole process is how minimal visual information can often be recognized by our eyes and brain.
Rea Rossi Philadelphia, PA
In Harmony, $8,000 Resonance, $3,500 Reverberance, $1,500
Primary Techniques: 3D printing Sound waves inspire my jewelry. This idea stems from my experience with a genetic hearing loss. My work explores overlapping elements, missing segments, distortion and repetition. All of these concepts relate to how I perceive language and sounds. My work is created in a 3D modeling program and 3D printed. I multiply a single element ad infinitum. I flow them along a curve that twists and turns. The pieces entwine and interlace with each other; producing a complex network of parts throughout each form.
David Rozek Chesterbrook, PA
Morphic Dresser, $9,000 Static Dynamic Coffee Table, $12,000 Static Dynamic End Tables, $6,000 ea.
Primary Techniques: CAD rendering, CNC routing, hand fabricating In my work, I combine my knowledge and understanding of computer aided design and manufacturing with my creative vision to create furniture that is flowing and organic. My inspiration is derived from natural forms, forces, and phenomena. The layering or stacking effect of the material produces striations in the composition that are enhanced by the hard edges which celebrate the manufacturing process used. The illusion of change over time is apparent in each movement of the form. Each project starts out as a small blob of modeling clay and after several iterations a final form is achieved. This form is constructed and manipulated on the computer using cross sections of the clay model as reference points. Every layer is then cut out using a computer numerical control (CNC) router. There is virtually no waste with this process because the by-product of one composition is specifically designed to be used as another composition.
Adrien Segal Oakland, CA
Water Form Study 1, $4,500 Water Form Study 3, $4,500
Primary Techniques: Hand molding, 3D scanning, CAD modeling, hand carving Modern conventions place an emphasis on technology and a scientific evaluation of the environment. As a result, I feel a great disconnect from nature and a loss of intimacy and intuitive knowledge of the natural landscape. Taking an interdisciplinary approach, my design method integrates scientific research, data visualization, aesthetic interpretation and materiality as a means to engage a broad audience and evoke dialogue, wonder, and consciousness about our environment. Starting with data as a conceptual basis, my work seeks to incorporate scientific inquiry as a sensory experience manifested as physical sculptures that reveal trends, patterns, processes and the unseen changes that occur in the natural landscape over time. The Water Form Study series is a body of work exploring a design process that is grounded in hand work and incorporates elements of digital fabrication. The forms are first modeled in clay by hand. They are then digitally scanned into a computer program which I use to modify, scale, refine, and slice the CAD model into flat parts that can be cut out in physical materials for fabrication. The final forms are made from stacked pieces of Âź" plywood in which each layer is glued to make a solid form based on the clay model scan, which I then carve back into a smooth form by hand using various grinders and abrasive tools.
Janice Smith Philadelphia, PA
Diamond Box 1, $250 SOLD Diamond Box 2, $250
Primary Techniques: CNC routing, hand fabrication A unique piece of furniture becomes part of a personal space and makes it more special. My work celebrates the things that make us human – our ideas, our creativity. I enjoy giving my furniture a feeling of movement, liveliness, by using asymmetry and curves or angles. Although built on a foundation of traditional techniques and quality workmanship, I use and adapt new techniques like torsion box construction and lately a computercontrolled router to achieve the form and strength that I envision. The computer-controlled router has two components. The first is the drawing program where I translate my design into a mechanical drawing that guides the router. The router on this machine travels widthwise and lengthwise and up and down. A tool path must be created that designates different router bits and different depths of cut that the router will use in following the parts of the drawing. There are always refinements to be made to avoid chip-out and other problems. I found the tool to be time consuming to learn, but it allows multiple parts to be made and makes resizing the part easy.
Phillip Stearns New York, NY
Gemini Whelk, $2,500 Memory Fragment XAA 2RGB 336px, $15,000 Nestled and Curvaceous Conch, $2,500 Ribbed Conch, $2,500 Sinestral and Brutal Conch, $2,500
Primary Techniques: Digital design, Jacquard weaving, 3D printing My work uses electronic technologies and electronic media as tools to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production of works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material. He received his MFA in music composition and integrated media from the California Institute of Arts in 2007 and his BS in music technology from the University of Colorado at Denver in 2005.
Rebecca Strzelec Altoona, PA
Trial Balloons Series: Bent Balloon, $140 Bent Bumpy Balloon, $165 Stitched Cluster 4, $140 Stitched Cluster 6, $160 Stitched Perf, $140 Stitched String, $160
Primary Techniques: Laser cutting, stitching trial balloon, noun An idea or a plan advanced tentatively to test the reactions of other people. I can distinctly remember silently judging colleagues who arrived late to meetings, missed deadlines, and seemingly reducing their research activity--because they had kids. My pre-parent self could not reconcile how children could possibly cause such a shift. I apologize. Fast forward to my current mom-of-two-small-children-self and now I completely get it. My kids, 4 and 1, are obsessed with balloons. Balloons at parties, grocery store check out lines, tied to real estate open house signs‌all balloons. Trial Balloons is a collection of jewelry about my kids and launches a new kind of practice for me as an artist and Mom.
Anthony Tammaro Philadelphia, PA
Gold Brooches, $285 ea Gold Necklace, $1,300 Neck Collar, $4,500
Primary Techniques: 3D design, additive manufacturing Anthony Tammaro is a new media artist who operates at the intersection of Art, Design, and Craft. His inspiration, as the artist states, comes from “things of beauty both real and imagined”. Tammaro’s studio practice attempts to create objects, which excite the imagination and challenge the typical idea of adornment and material worth. His most recognizable work leverages his expertise with 3D software and additive manufacturing processes. Tammaro believes this allows for the creation of objects, which are unattainable using typical manufacturing techniques. Recent works draw inspiration from both geometric and biomorphic forms. These are combined to create a language which is highly expressive in form and intuitive in function.
Rich Tannen Rochester, NY
Tray—Landscape, $1,200 Tray—Evolving, NFS
Primary Techniques: CNC routing, hand carving I continue to be fascinated with the expressive range of wood, my chosen medium, and for some time now I have been committed to exploring that range. I am also interested in the external expression of internal structure , particularly the phenomenon in nature whereby organic asymmetric forms evolve from mathematically precise internal structures, and form and surface texture interact to intensify these dynamics. I have long been fascinated with the textured, undulating surfaces I have been able to achieve through carefully modulating the tool paths of a CNC (computer numerically controlled) router. With years of experimentation, my approach to digital technology has been one of directed play, as when experimenting with a new tool such as a carving gouge. The pieces are not about the technology, but rather, I hope, viewed in much the same way that one would view the surface of a painting, built up of multiple layers of paint. One sees the resulting qualities of the form and surface. Technique plays an integral role in achieving the final result, but is only a means to a desired visual end.
Aaron Trocola Brooklyn, NY
Lotus Top Roman Top Seed of Life Corset
Primary Techniques: CAD, 3D scanning, 3D printing Aaron Trocola is an industrial designer who has been creating 3D designs and working with technology start-up companies for over 15 years. His experience includes more than 20,000 hours of 3D modeling experience in CAD, animation, and visualization, and he has personally designed, printed, finished and shipped hundreds of 3D-printed products. He helped develop one of the first volumetric display technologies more than a decade ago, and more recently has been working as a product designer, educator, and reverse-engineering technician. He owns 40WestID, a product design, 3D scanning, and consulting service, and its digital apparel brand Threeform.
Elleke van Gorsel Eindhoven, the Netherlands
LACE Bowtie, Delft Blue, $72.75 SOLD OVAL Pair of Earrings, Delft Blue, $67 OVAL 2 Floral Necklace, $113.75 van Gogh Sunflowers, Spiral Necklace, $154.50
Primary Techniques: 3D printing, hand coloring
Elleke van Gorsel, the artist behind Studio-ePosh, designs elegant textile accessories which are wearable and domestic. She creates modern haute couture with a high tactile quality and a strong artisan character. The ornamental imagery refers to times gone by, it combines rich tradition with modern technology. As far as content is concerned, Elleke van Gorsel is inspired by socially engaged themes, family ties, (autobiographical) history, religion, literary and philosophical texts, for her products as well as for her autonomous work. Referring to old customs, she translates her inner perception of the universal – life of all times and cultures – in personal archetypes and new rituals. Her work is well worth seeing as well as touching and feeling. Elleke van Gorsel studied at the Teacher Training Academy of Art in Amersfoort and at Sint Joost Academy of Fine Art in Breda. Notably her autonomous work consists of sculptures and installations, and has been included into several public collections, such as the principal collection of Rabobank.
Catherine Wales Brooklyn, NY
Human Scaffold, NFS Feathered Shoulder, NFS Gilded Horn Mask, $15,000
Primary Techniques: 3D printing Project DNA was inspired by the complications surrounding high street garment sizing and the movement towards globalization in manufacture and design. As brands streamline their organizations to produce a designed product fit for global distribution, in an effort to reduce cost and increase speed to market, they begin to face new manufacturing restrictions. One of these restrictions is the ability to translate established market specific sizing and grading increments into one rule and still meet consumer demands and product fit satisfaction. This project is a collection of 3D printed works that are to be worn on the body and as part of one’s wardrobe. The main themes in this project are spiritual, reflective and functional. Each theme embraces the concept of clothing one’s self with a product correct for fit to their body shape that can then be transformed into the desired silhouette.
Kimberly Winkle Cookeville, TN
Binary II, $850 pair SOLD Large Doodad, $850
Primary Techniques: CAD rendering, CNC routing, hand fabrication Employing traditional furniture making techniques and materials, I build forms and structures with results that are, often times, untraditional. My interest lies in the pursuit and potential of the medium as an expressive device. I use hardwood, paint, and graphite to create my works. The forms are generally streamlined in order to better play the role of an empty canvas for color and line. I strive to create an apparent sense of spontaneity, chaos with order, rhythm and gesture with these marks; all working in concert to imbue the object with individuality and charm. Binary was inspired by the confluence of the mode of making: in this case, digital and traditional. The original form was modeled using a CAD program, and, subsequently, carved from a solid block of cherry wood using a CNC router. While the CNC efficiently translates the CAD image, the technology’s limitations are also revealed. In response, the CAD form was reproduced using traditional analog techniques (turning and carving), which allowed for increased control, detail and improvisation. In the end, the collaboration of techniques results in a duet of forms that simultaneously look forward while celebrating tradition.