We’re clearly fans of 3D printing at CFile, or, when we’re not overtly supportive, we still like to see how people explore the medium. A question that arises for makers, though, is how to maintain ownership over their work when much of it is automated by machines.
Netherlands designer Daniel De Bruin came up with a poetic response to that with a ceramic printer he has to power himself. In addition, his pieces bear some imperfections, which he says are one of his favorite features in ceramics. He powers the machine with a 15-kilogram weight. He states:
“by lifting a weight of 15 kilograms the machine is turned on. the weight allows me to be still connected with the process. because there is no external force involved like electricity it’s still me that’s making the print. by physically building and powering the machine the products that come out of it are the result of all the energy that has gone into it. Therefore I have a strong connection with the resulting products, these are not products of the machine but products of my hand.”
A common criticism of clay printing (and, we assume, all forms of art that adopt automation — Ray Bradbury refused to own a computer, for example) is that it takes all of the “hard” work out of the process, and the piece is somehow lesser as a result. We see such devices as tools more than anything else. But, in recognition of that criticism, we see how De Bruin’s machine blurs the line. If De Bruin designs, powers, modifies the aluminum guide wire to change a vessel’s shape and mixes clay to create gradients, how is that any less involved than more conventional methods?
What do you think? Let us know in the comments.