Interview: Rael San Fratello Navigates the Boundaries of 3D Printing, Architecture, and the Impact of Division
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September 1, 2022
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June 15, 2021
Grace Ebert
“Thorn,” bronze and sterling silver, approximately 4 x 2 x 3 inches. All images © Allan Drummond, shared with permission
Dr. Allan Drummond works at the intersection of art, design, and science with his metallic replicas of wide-eyed spiders, ants, and other winged insects. He buoys his research in the departments of Medicine and Biochemistry & Molecular Biology at the University of Chicago into a creative practice that casts biologically realistic specimens with a focus on anatomical elements of prehistoric organisms most likely to be lost in the fossil record, including underbellies.
Each creature starts with a digital rendering created in Blender that’s 3D-printed in individual pieces—you can see examples of these initial models on Instagram. Drummond then casts the replica in bronze or silver with the help of jewelry designers in his current city of Chicago and later assembles and finishes the metallic components, which results in a meticulous copy of the actual insect whether life-sized or enlarged to magnify its features.
In a note to Colossal, he writes that the body of work shown here utilizes more advanced techniques than his previous models and came together with the help of two mentors, sculptor Jessica Joslin and the jewelry designer Heather Oleari. “Feeling the pieces for the thorn bug snap together in my hands—a total rush—was less a relief from stress and more a confirmation that, at least when it comes to building giant metal arthropods, I know what I’m doing,” he says.
If you’re in Seattle, head to Roq La Rue Gallery before July 3 to see Drummond’s exacting metal insects in person, and dive deeper into his process on Instagram.
“Proudhopper (Dictyopharidae),” bronze and sterling silver, approximately 5 x 3 x 3.5 inches
“Naphrys,” bronze and black glass, approximately 10 x 14 x 2 inches
“Naphrys,” bronze and black glass, approximately 10 x 14 x 2 inches
“Semibalanus,” bronze, steel, and silver, approximately 4.5 x 4 x 3.5 inches
Detail of “Semibalanus,” bronze, steel, and silver, approximately 4.5 x 4 x 3.5 inches
“Thorn,” bronze and sterling silver, approximately 4 x 2 x 3 inches
“Proudhopper (Dictyopharidae),” bronze and sterling silver, approximately 5 x 3 x 3.5 inches
“Bellacartwrightia,” sterling silver and patina, 5.5 x 4 inches
“Farm To Table,” bronze ant, sterling silver aphid with black glass, two-carat cubic zirconia, approximately 9 x 5 x 2.5 inches
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History
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April 28, 2021
Grace Ebert
Scan the World might be one of the only institutions where visitors are encouraged to handle the most-valued sculptures and artifacts from art history. The open-source museum hosts an impressive archive of 18,000 digital scans—the eclectic collection spans artworks like the “Bust of Nefertiti,” the “Fourth Gate of Vaubam Fortress,” and Michaelangelo’s “David” in addition to other items like chimpanzee skulls—that are available for download and 3D printing in a matter of hours.
Searchable by collection, artist, and location, Scan the World recently teamed up with Google Arts and Culture, which partners with more than 2,000 institutions, to add thousands of additional pieces to the platform. Each page shares information about an artifact’s history and location, in addition to technical details like dimensions, complexity, and time to print—scroll down on to view images of finished pieces uploaded by the community, too. While much of the collection focuses on Western art, it’s currently bolstering two sections that explore works from India and China.
Scan the World is part of My Mini Factory, which is the largest platform for 3D-printed objects. If you’re new to the process, check out the site’s wide range of tutorials, including tips for beginners, how to scan with your phone, and techniques for using drones to capture hard-to-reach works. (via Open Culture)
Left: “Mars and Venus.” Right: “Marble Head from a Herm“
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August 18, 2020
Grace Ebert
All images © Rael San Fratello, shared with permission
Modern architectural building methods and Indigenous materials converge in the latest endeavor by Ronald Rael and Virginia San Fratello, titled “Casa Covida.” The earthen structure is part of a MUD Frontiers/Zoquetes Fronterizos that centers on Pueblo de Los Ángeles and the ways technological advances can work in unison with historic mud-based designs. “Casa Covida” contains a bathing pool, sleeping areas, and fireplace seats for two.
To create the three-room home, the duo employs a custom, portable robot that they transport to various sites, allowing them to dig soil and other materials and immediately shape it into the necessary structures. Utilizing clay and mud, the building process is informed by the practices of Ancestral Pueblo peoples and Indo-Hispano cultures of northern New Mexico and southern Colorado. When wet, the natural materials are layered in zigzag-like coils. The undulating, textured facades generally are made with a few rows to provide insulation from the nighttime cold.
MUD Frontiers was a recent recipient of a 2020 Art + Technology grant from LACMA. It strives to consider “traditional clay craft at the scale of architecture and pottery. The end goal of this endeavor is to demonstrate that low-cost and low-labor construction that is accessible, economical, and safe is possible,” a statement says.
Based in La Florida, Colorado, and Oakland, respectively, Rael and San Fratello are known for subversive projects at the intersection of art and architecture, like the neon pink teetertotters slotted through the U.S.-Mexico border wall. Follow their latest sustainable works on Instagram. (via Hyperallergic)
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