Der Rausch von Geschwindigkeit, die dynamische Form und die Power, die solch ein Feuerstuhl hat, lässt jedes Bikerherz höher schlagen. Jonathan wollte schon immer ein Motorrad, also druckte er sich “kurzerhand” mal eins mit einem Ultimaker 3D-Drucker.
Der 3D Künstler Jonathan Brand ist in Sarnia in Kanada geboren, er studierte an der University of Guelph und schloß dort mit dem Bachelor of Art Honors ab, im Anschluss absolvierte er an der Yale University School of Art seinen Master of Fine Arts.
Nun lebt und arbeitet er in New York als 3D Künstler. Über mehrere Jahre entstand “The motorcycle project” am PC und 3D-Drucker. Die 1972 Honda CB500 besteht aus 18 Rollen Filament.
How did you discover you had a talent for 3D design?
I think it’s less about talent for 3D design and more that I like figuring out how things are put together and solving problems. My art work is the product of my desire to learn new processes and investigate how things are put together, unraveling and breaking elements down to re-imagine a new way of working. I mainly work with representational objects in the attempt to tell a story. It is a lot of problem solving and experimentation.
Would you give a brief walk through your work flow?
I begin with a challenge that I propose to myself and have a general vision of the outcome. Some things end up as planned but there is also a lot of adapting and responsive design making in the process.
For the Motorcycle project I started by buying a 3D model to use as a template. Because this model was low resolution I used it to redraw a lot of the parts from internet photos or by collecting already made files from online. The finished motorcycle is a combination of different early 1970’s Honda motorcycles. Each part had to be cut into smaller pieces in order to fit on the 3D printer. For example there are 8 prints in the seat. Each piece was numbered so that I could later assemble it. I spent about 8 months printing and 8 months assembling the pieces. The pieces are welded together using a soldering iron. I had to do a lot of sanding, filing and cutting to get all the parts together.
Tell us something to your way of thinking and acting for your work “The motorcycle”?
The full scale motorcycle is part of my larger studio practice which deals with the attempt to reconnect with objects, often in absurd or roundabout ways. I try to bring into form things that I can’t otherwise purchase or access. The resulting objects are far removed from their original form, shape and material through the mediation of process, material and memory of the original thing. They begin as substitutes or replacements for things but end up as unique objects in a very different context.
If you had no limits, what would you create?
That’s a tough question, I would just love to be able to spend every day in the studio, free of external distraction and financial restraints. That would be a lot of fun.
Where do you see yourself in 10 years?
I hope to be still making thought provoking work that continues to push the limits of my materials and technology.