Chico Macmurtrie

Chico is the main person behind Amorphic Robot Works, and there is lots on his website about kinetic works using metal and wood plus linkages and mechanisms, and also inflatable works, I particularly liked his 16 birds, made of the simplest bird shape out of tubes of sail cloth, and as they inflate they stretch and flap very slowly.

He has also done quite a few public site specific commissions and I particularly liked this floating island called “A Tree for Anable Basin” which was a previously toxic waterway in a industrial area of New York that was slowly being rehabilitated.

tree

The following extracts are all from the Amorphic Robotic Works website, and they explain the whole idea so well.:

It encapsulates in a single gesture the dynamism and split personality of a landscape undergoing tumultuous redevelopment.

As a natural object crafted from industrial materials, the floating aluminum tree evokes Anable Basin’s historical interplay between industrial and ecological activity. Anable Basin—a 500-ft-long notch in the East River—was carved from tidal wetlands in 1868 to serve as loading slip for oil tankers and other cargo ships. Between the demolition of the former Pepsi bottling plant in 2004 and the ongoing construction of deluxe high-rise residences on the site, the developers attempted a massive detoxification operation to clear generations of pollutants from the waterfront.

The site’s natural regeneration began 30 years ago, however, with the Clean Water Act and the gradual return of migratory water birds. Neighborhood groups such as the LIC Community Boathouse have quietly begun to explore the potential of Anable Basin to contribute to the life of the waterfront and the city. A Tree for Anable Basin builds upon the resiliency and elusive beauty of the site. Floating upon a sculptural island planted with native estuary grasses and glowing with solar-powered lights, the Tree is designed to enhance the existing habitat for birds.

The sculpture’s presence is intended to raise questions about community access and land use by inviting public spectacle at a traditionally restricted site. Although the privately-controlled Basin has long been concealed from public view, Tree identifies this tidal waterway as a cultural and ecological resource to be understood, enjoyed and preserved. Embodying the transitional quality of the present moment, Tree foreshadows and refracts the accelerating corporate promotion of the site through landscape amenities. Yet its textured metal branches and fishing-dock-inspired base express the lingering traces of an industrial past.

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