Dynamic Forces Create Dynamic Functional Artworks of Stone

It has been stated that, “the presence of mass defines the structure of space.” My interest is in the creation of emotive spatial structures, made from stone, to establish a point of view, be it yours or mine. Four major components to art and design – logic, mathematics, science and rhythm – are involved in the development of unique, one-of-a-kind pieces.

Of course, geometry is paramount to design and art. Common to all lines, shapes and configurations, whether they are finite or infinite, is the point and the origin where they all begin. Profound awareness of its function and genesis, geometry is highly instrumental in creating a piece of emotive content.  You can run the spectrum from augmentation to suppression or from inclusion to isolation. Geometry and its all encompassing metaphysical nature is one of the main gears that drive accomplished design. Even small increments create rhythmic and harmonious dynamics. To create contrast, arrhythmic interlude in design may be incorporated.

Simply stated, logic lends itself to design in that it begins to give definition to any given space by considering any other mass that might be occupying or surrounding that space. Beginning with our senses, awareness is ignited. Constant variables such as walls, ceiling and floor measurements are accounted for.  Also consideration for the shape of an area along with colors, texture, mass and surrounding areas are given. All relative matters along with certain approximate constants are logically accounted for to begin general parameters.

This hypothetical space we’re referring to renders itself to being defined as it exists. Much is stated by what is, and what is not, within that space. What do you want to say or scream? How do you feel? How do you want to feel? And how important is it to you to have others know?

Before I go on, I’d like to remark on unique, specifically designed, one-of-a-kind pieces. Easy. Start out with a beautiful stone. Compliment that with the technical ability and equipment to obtain results. That’s helpful, however, you’re only half way there. For whom and what the piece is representative of, envelops the other half. Via communication and spatial experience, a mind’s eye view is brought to light. In other words, the other half is a talent to see what the other party of interest sees in their mind’s eye. Then and only then, can optimum levels of sensation be reached.

Colors, textures, aromas and the like impact and influence your sensory perception. Different colors evoke different sensory reception. The scent of roses, or the smells of the sea, instantaneously augment emotive content. Considering the heightening of emotion as just stated, the contrary can serve as a function to suppress elements of emotive content subject to design. Subtle or not, geometry and the lines used to implement physical form are also instruments utilized in either augmentation or suppression of emotive content in a piece.

Nature and its dynamics amongst innumerable other forms illustrates movement both clockwise to counter–clockwise and positive to negative.

In actuality, the genesis of geometry is born of nature and accompanied by metaphysics and biorhythmic connectivity. In similar fashion, this eloquent use of geometry can institute and exact the desired finish on any particular piece.

One example of this can be imaged by display of nature’s weather systems. For instance, inclement weather with rain, clouds, wind and low barometric is a storm front moving in a counter-clockwise direction resulting in what we experience as a nasty stormy day. In contrast, a weather system with no precipitation, a high barometric pressure and moving clockwise produces a bright, calm, sunny day. From hurricane huge to cellular small where protons, neutrons, and electrons orbit in different directions to charge energy fields; can all in part be utilized in development of design and exacting desired effect.

Numbers and mathematics, as they relate to geometry behave as profoundly as an individual’s particular predisposition to the liking of odd or even numbers. This notable predisposition can be taken into consideration and used to multiply or divide the dimensions on the components of a piece to create rhythmic proportion.

The ocean’s highs and lows are crests and troughs which exemplify time and distance. Movement of mass through space; as it graphs and diagrams sight, smell and the feel of an event. A pulse develops which eventually undulates it's way to a rhythmic roll or a contrast of synergies.

The science of stone is that of carbon. By definition, carbon is a chemical element that occurs pure as diamond, impurely as coal and in compounds to form organic substances. Pure crystallized carbon in the form of a diamond is an extremely hard stone. Flawlessly bonded crystalline C molecules and sometimes void of any impurities. Noteworthy in that respect, is the fact that marble, granite and other stone attribute their particular coloration to those same impurities and associated elements. For example, rust colors contain iron, ochre and yellowish contain sulfur, and the list goes on. Again, carbon is in compounds to form organic substances. Organic is referenced to or derived from plant and animal matters; containing carbon; symptomatically systemized and structural.  Astonishing connection between stone, living matter and the common chemical element (C) along with associated synergies that bond them all. Comprehensive and empirical, a symbiotic relationship exists between organic and inorganic systems.

The origin of design lies within life itself – living or not. Colors from elemental compounds in the ground can take shapes of earth, water and air and are constantly changed and transformed by different combinations of itself (i.e.  erosion). With this information, further understanding into rudimentary logic dictates the demand to breakdown these components into even smaller parts and view them in their raw (singular) state of existence. Broken down and taken out of context, we are able to find the link and the common fiber that binds us to everything else.

And now, for full circle… a brief on the metamorphosis of stone. It is a collaborative effort of all things and their respective components.  From molecular to sub-atomic and everything between and beyond that drive all energy to synergistic levels.

The metamorphosis of stone is described as follows: the earth as its vehicle. Anything that can decompose in the earth, its decomposition causes friction. Friction causes heat. Heat causes pressure. Pressure forces single crystalline molecules together to form a unified mass.  Dependent upon time, pressure and elemental content in the ground is what makes stone unique in arrangement.

It’s a continuous transformation and transformulation of simple and compound carbon and a transmittal process running the entire gamut of form.  Solids turn into liquids. Liquids turn into gases. Gases disperse and decompose in the atmosphere to continue reclamation or become inert. Whereby whatever it is, doesn’t have the power to move on its own. The only way to get inert matter to respond is by acting upon it with external force.

At all stages of this lifecycle, vividly illuminated is the design of geometry in its dynamic or static form. The geometric configurations of molecular cellular, atomic sub-atomic, etcetera, coexist and create energy transferals. At times, physical matter is broken down into charged particles to a form of energy that responds to external stimuli as displayed by the Aurora Borealis.

Magma – totally agitated and aggravated rock.  Feel it in its heat. See it in its color and texture. Hear it in its movement as it incinerates everything in its path.  All the instruments for design are found there; including the primary mechanics for the creation of emotive content as illustrated by magma. Similarly, storm and tidal waves display enormous energy in the context of rhythm, time and space.

No more comprehensive than can be so eloquently stated than by Charles Darwin “as in music… the man who understands every note will more readily comprehend the whole.”

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My experience with stone goes for well over twenty years. I was taught by the last generation old-timer from Italy for nearly ten years and a well-renowned sculptor from Spain for another two years. Between those two masters, they have over 100 years of experience and they learned from the great European stone masters before them. I am college degreed in Political Science. Most of my time has been spent on the east coast, directly along the ocean from Manhattan to Miami (primarily New Jersey) until the winds of sea and life blew me here to Las Vegas.

Utilizing stone as a medium for functional art, we facilitate ideology, implement design technique to the medium and let the stone come to life. Since the beginning, great respect and intrigue has been given to stone.

I make unique, one-of-a-kind pieces from stone to adorn your home. Furnishings such as: pedestals, made-to-fit corner pieces, conference tables, dining room tables, bistro and coffee tables. Don’t forget the accessories like candle holders, self standing cigar ash trays, centerpieces, etcetera, that give your space that touch of elegance, style or character.

Also with the same care, I consciously create unique inlays in floors and walls in the form reliefs and inserts; fireplace surrounds with mantles and hearths; wall shelving, corbels and free form shapes.  Inside, outside, anything, anywhere. The ideas and applications are infinite.

Call Stillwater Stonework at (702) 339-6238 to discuss how we can put your dreams into stone.