Hybrid Artifact #2 (for John Bartram) – with Matthew Hebert

My colleague and co-conspirator Matthew Hebert (San Diego State University) and I have just completed a new work in our series (two makes a series, yes?) of Hybrid Artifacts that marry the ancient craft of whittling with contemporary digital manufacturing technologies. This is the culmination of our project at the Bartram Gardens in Philadelphia which I posted about on my first visit for the project in November 2011. Its been a long term project and we’ve worked with many collaborators along the way – the list of whittlers is at the end of this post. There is a summary of the project on my portfolio page.  I thought a more expanded description might be appreciated here on the blog.

Here’s our statement about the piece – illustrated along the way with process shots!

“John Bartram’s garden and collecting expeditions provided the first systematic exports of the botanical wonders of North America to England and then on to Europe. This happened in the midst of the European Enlightenment and the materials that Bartram supplied helped establish the foundations of the modern scientific fields of taxonomy and plant hybridization. The transport of these specimens in ‘Bartram’s Boxes’ was a technical (and often logistical and political) accomplishment in its own right. The seeds, seedlings and plants that travelled on the long and dangerous voyage across the Atlantic ended their journey in the hands and glasshouses of some of the most advanced plant biologists living at the time. In effect they inspired and provided the substance of a revolution in biological science that is still being played out today. Interestingly enough, this happened through a direct correspondence between two individuals on opposite sides of the ocean. Two men who both displayed extraordinary passion for the North American flora, a certain impatience and frustration with the tyranny of the distance between them, and a long-standing friendship and collegiality, which was never consummated by them meeting face to face. These two men were John Bartram, striving to both farm and explore the newly colonized East coast of America, and Peter Collinson in England, working hard to both enrich his own modest garden and to help distribute Bartram’s Boxes to the leading gardens and research facilities in England and Europe.

The seeds for “Hybrid Artifact#2 (for John Bartram)” originated from Bartram’s garden in Philadelphia. Donald Fortescue milled a freshly fallen Willow Oak tree on site and made 16 green wood ‘Fortescue’s boxes’.

'Milling' willow oak - part 1

‘Milling’ willow oak at the gardens.

'Milling' willow oak - Part 2

‘Milling’ willow oak at Michael Hurwitz’s studio.

Raw (and very wet) lumber

Raw (and very wet) lumber

Box building production line

Box building production line

Fortescue's boxes

Fortescue’s boxes

A group of enthusiastic students from the University of the Arts, the Buck’s County Community College and the Indiana University of Pennsylvania, hand whittled small wooden sculptures from wood from the Gardens and provided a hypothetical text description of the completed pieces. These small sculptures were then individually and carefully packed in the ‘Fortescue’s Boxes’ and shipped across the country to Matthew Hebert waiting with great anticipation in San Diego, California, all the way across the US – 2,700 miles (a tad less than the 3,550 miles covered by Bartram’s Boxes).

Happy whittlers

Happy whittlers

Caterpillar Skate

Caterpillar Skate

Kubrick

Kubrick Shifter

The full collection of Bartram whittles and their 'toe tags'

The full collection of Bartram whittles and their ‘toe tags’

Bon voyage!!

Bon voyage!!

Matthew then opened the boxes (conserving them carefully) and began work on his technical translation of Donald’s specimens. Utilizing an array of reverse engineering (3D scanners) and digital fabrication technologies (CNC machines and 3D Printers), Matthew translated the hand-hewn objects into 3D computer models, manipulated them in software, and then re-created them as physical objects. He created negatives of the whittlings and then remounted these in the original boxes; framed and lit from within like Victorian cameos. The descriptions provided by the whittlers were read by artists in Australia and then linked to their respective cameos.

Printing whittles

Printing whittles

The 16 artifacts are arrayed to reflect notions of hybridization, mutation, and genealogy. The subtle textures created by both the hand of the whittler and the processes of digital fabrication highlight the problematic space of contemporary making. The radical changes in society resulting from the scientific revolution in John Bartram’s time are drawn into parallel with the radical changes in contemporary society arising from digital manufacturing.”

Hybrid Artifact #2, 2013

Hybrid Artifact #2, 2013

Plaque

Plaque

A whittle cameo

A whittle cameo

A whittle cameo lit within

A whittle cameo lit from within

 

Huge thanks to Don Miller Jr. and Michael Hurwitz in Philadelphia, to the intrepid  troop of whittlers from the University of the Arts in Philadelphia, the Bucks County Community College, and the Indiana University at Pennsylvania for their enthusiasm and contributions to this project, and to the following whittlers for the use of their work –  Lily Baker, Steve Loar, Don Miller Jr., Donald Blankenship, Robert Haskell, Joshua Skott, Catherine Caulfield, Olivia Mays, Sarah Martin, Kevin Bogan, BA Harrington, Kerin Posobiec, Ryan Berardi, Janice Smith and Colin Pezzano, 

Kioloa – Australia

I’m just getting going on a one month residency at the Australian National University School of Art – my alma mater. As soon as I arrived and settled in, the entire Furniture program loaded up and headed down to the south coast of New South Wales to the ANU’s coastal campus and  field research station at Kioloa. Set in a rich forest of spotted gums and blackbutts and right on the edge of a beautiful string of golden beaches its was a great place to meet the students and check out some of the local woods.

Heading to the beach

Heading to the beach

Students completing local habitat analysis.

Students exploring the local habitat.

Prof. Fortescue's technial demonstration.

Prof. Fortescue’s technical demonstration.

I wasn't the only galah on the beach.

I wasn’t the only galah on the beach.

Off into the forest with a trailer load of testosterone.

Off into the forest with a trailer load of testosterone.

The spotted gum forest is so engaging. There were magpies and rosellas soaring through the trees and yabbering away to each other and a discrete lyrebird working on his repertoire down amongst the tea trees.

The spotted gum forest

The spotted gum forest

Spotted gum bark

Spotted gum bark.

I’m interested in using images of the spotted gum bark for a series of prints while I’m here. The markings are remarkably similar to the artifacts of ‘livetrace’ that I have been exploring recently.

I wonder how they will turn out?

Felling an Acacia to take back to the station for whittling.

Clare Solomon felling a mighty Acacia to take back to the station for whittling.

Night whittling

Night whittling

Whittles in Native cherry, Acacia and Teatree.

Whittles in Native cherry, Acacia and Teatree.

Ian Guthridge took me out to see ‘Old Blotchy’ a huge and ancient spotted gum that has been around since before the whitefella landed on these shores.

Ian Guthridge gives scale to Old Blotchy.

Ian Guthridge gives scale to Old Blotchy.

What a magnficent vegetable!

What a magnficent vegetable!

... with gnarled and wrinkled skin.

… with gnarled and wrinkled skin.

A local enjoying the sunset.

A local enjoying the sunset.

More soon as I get going on some new work here in Canberra.