Architecture News

Artist Kasey McMahon's recent project provides a captivating modern perspective on Rodin's renowned 'The Thinker.' This life-sized rendition, meticulously constructed from steel and hundreds of feet of network cabling, serves as a poignant commentary on the intersection of human thought and digital infrastructure in our interconnected era. The sculpture, a testament to McMahon's decade-long exploration of network cables as an artistic medium, blurs the lines between the tangible and the technological, encouraging viewers to ponder our evolving relationship with the digital realm.

Contemporary Reimagining: Kasey McMahon's Network Cable 'Thinker' Unveiled in Austin

In a compelling artistic endeavor, Kasey McMahon has transformed Auguste Rodin's classic bronze 'Thinker' into a contemporary icon using unconventional materials. This striking new interpretation, a life-sized sculpture, utilizes a robust steel framework to establish the familiar contemplative pose, which McMahon then meticulously enveloped with copious lengths of CAT5 and CAT6 network cables. This intricate process, undertaken in McMahon's Portland-area studio, a converted 120-year-old garage, spanned from the initial welding and metal shaping to the detailed hand-wrapping and layering of hundreds of feet of colorful cabling. The resulting figure, dominated by shades of blue, gray, and white, with occasional vibrant red accents, deliberately showcases the visible connectors, printed markings, and individual strands of cable, rather than concealing them. This transparency highlights the very infrastructure that underpins our modern digital communication. The sculpture, which marks the artist's first male figure in this ongoing series, is now gracing a private collection in Austin, Texas, inviting onlookers to reflect on the nature of bodies, networks, and the pervasive influence of technology.

McMahon's 'Thinker' compels us to re-evaluate the traditional boundaries of art and technology. By using the very conduits of our digital existence to form a figure synonymous with profound contemplation, the artist masterfully initiates a dialogue about our increasingly intertwined lives with artificial intelligence and information networks. The sculpture's powerful presence, derived from its familiar pose yet radically new composition, subtly challenges us to consider what it means to 'think' in an age saturated with data, without offering a definitive answer. It serves as a potent reminder of the physical realities that underpin our virtual experiences and the silent, continuous thought processes happening within and around us.

In a remarkable display of innovation and sustainability, a pioneering initiative known as the BEARS WOOD PROJECT is redefining the value of timber previously deemed unusable due to natural scarring. This venture transforms wood marked by Asian black bears into distinctive, handcrafted surfboards, showcasing how environmental interactions can lead to unique aesthetic and economic opportunities. By embracing the "imperfections" of nature, the project champions a new perspective on resource utilization.

Transforming Nature's Marks: The Genesis of BEARS WOOD PROJECT

In the verdant woodlands of Keihoku, nestled north of Kyoto's heart, Asian black bears occasionally engage in a natural behavior known as kumahagi, where they strip bark from cedar and cypress trees. This leaves behind elongated marks on the tree trunks. As these trees continue their growth cycle, new layers of tissue form around these wounds, resulting in timber with an unconventional, undulating grain. For traditional forestry practices, these distinctive marks often lead to a sharp decline in the wood's market value, often relegating such timber to fuel or leaving it to decay in the forest. However, this perceived flaw became the very inspiration for the BEARS WOOD PROJECT. Launched in 2022 by Kyoto-based Tsutsumi Asakichi Urushi, in collaboration with local foresters and skilled wood craftsmen from Keihoku, this project specifically seeks out and utilizes timber that has been 'damaged' by bear activity. The initiative's siita brand surfboards proudly feature these naturally altered grains, which are preserved and highlighted through the crafting process. Each surfboard, meticulously shaped from cedar, undergoes a lustrous urushi lacquer coating, which not only protects the wood but also accentuates the unique patterns left by the forest's ursine inhabitants, turning a natural phenomenon into a captivating design element.

A Legacy of Lacquer Meets Contemporary Craft

At the core of this transformative project stands Takuya Tsutsumi, the fourth-generation torchbearer of Tsutsumi Asakichi Urushi, a venerated Kyoto lacquer house with roots tracing back to 1909. For over a century, his family's enterprise has honed the art of urushi application, utilizing this indigenous resin as both a protective sealant and a bonding agent in traditional Japanese crafts. Takuya, who joined the family business in 2004, has been instrumental in expanding the application of urushi beyond its conventional boundaries, integrating it into modern objects such as bicycles, skateboards, and, most notably, surfboards. The siita brand, under Tsutsumi's guidance, is a testament to this innovative spirit. He collaborates closely with Rodrigo Matsuda, a seasoned wooden surfboard artisan with nearly two decades of experience. Matsuda meticulously carves the timber in Keihoku, while Tsutsumi applies the intricate urushi finish. Their workspace, an idyllic century-old renovated farm shed nestled alongside the tranquil Katsura River, is where this delicate craft unfolds. Tsutsumi's mastery lies in his ability to adapt the urushi application process to varying environmental conditions, adjusting for temperature and humidity to ensure the lacquer's perfect viscosity and ultimate sheen, thus producing a flawless and durable finish that honors both tradition and innovation.

The Ripple Effect of Redefining Value

The innovative approach of the BEARS WOOD PROJECT addresses a significant ecological and economic challenge within forestry: the impact of kumahagi, or bear-induced bark stripping. While Kyoto Prefecture acknowledges the environmental significance of this behavior in species like cedar and cypress, it also recognizes the substantial economic losses incurred by foresters due to the reduced commercial value of marked timber. The intricate reasons and precise timing of these bear activities remain subjects of ongoing study. Tsutsumi views the BEARS WOOD PROJECT as a critical endeavor to imbue this 'damaged' timber with renewed economic utility. Rather than discarding the sections of wood bearing these natural marks, the project actively incorporates them, focusing on areas where the tree's growth has uniquely adapted around the wounds. The team commits to purchasing these marked trees from foresters at a fair market price, transforming what was once an economic liability into a valuable resource. Consequently, the distinctive bear scars evolve from an aesthetic imperfection into a coveted design feature, elevating the uniqueness and desirability of each finished surfboard. This philosophy shifts the narrative, allowing these natural imprints to become distinguishing characteristics that tell a story, rather than mere flaws that diminish worth.

This initiative not only salvages timber that would otherwise be underutilized but also creates a compelling narrative about the interplay between nature and craftsmanship. By transforming the marks of the wild into artistic elements, the project brings a deeper sense of connection to the natural world into human-made objects. It reminds us that perceived imperfections often hold untapped beauty and value, waiting for an innovative eye to reveal them. The BEARS WOOD PROJECT serves as an inspiring example of how sustainable practices and creative vision can coexist, fostering both ecological responsibility and economic opportunity.