Sculptures are independent creations of how I express a situation, an idea or event. Materials, shapes and compositions are chosen to give form and a feeling to that inspiring idea behind each sculpture. The attempt is to focus on one or two structural elements to define an overall form. Put kinda artsy….’A mechanic interpretation for single point concept drawing from history, mythology and life experience by shape, form and color in motion’…. The techniques of construction push the boundary of traditional process and develop new avenues for metal color and texture. Adventurous designing magnifies pattern and form. Color is dynamic and shifts in the viewing. Surfaces are dimensional yet smooth to the touch. I encourage you to explore and feel the sculptures. Rotational sculptures are wall mounted on a ball bearing assembly and precisely balanced to allow for smooth rotation periods approaching thirty minutes from a single push. Each rotational sculpture is designed about a particular radius and with minimal components to accentuate the visual and mechanical flow of elements. Raw stainless steel, copper and aluminum is hand formed and polished to a mirror finish in a six stage process. Sculpture materials are mirror polished stainless steel, polished aluminum and acid etched steel. Long arcing arms reach out from the central axis to intersect with copper fan elements with varied methods of attachment. The upper fan is greater in form and mass than the lower fan to visually contrast the viewer’s expectation of balance. The counter balance elements are set in a minimum of two opposing axis and the upper counterweight slides on opposed axis paired within an arc element. (As an example….shifting a counterweight up could cause the sculpture to shift balance to the left.) This arrangement gives a smooth motion throughout the rotation. Engraved copper works are pure copper sheet, starting with an acidic cleaning bath and then sketching the image onto the copper surface with ink. Razor knives and small grinding wheels are used to define the major outlines of the image. Choosing from over fifty other tools, I will begin to engrave the finer details of the image by overlapping one type of texture over another. This gives contrast and depth to the image and reflects light to reveal textures from many points of view, kind of like a hologram. With the engraving done, I begin heating isolated areas of the surface with a blow torch to develop oxidation colors in the copper. The duration, frequency, intensity and angle of the torch flame creates the color and the type of engraved texture being heated has an impact on how the color develops as well. The entire copper panel is heated in an oven and then the clear enamels are applied in several coats with the piece returning to the ovens for a full cure.
- Robert Wick
- Evan Oberla