CinderCone: First Burn. by Mark Leichliter

With the welding and sanding and bolting all finished up, it’s time to test this thing out. My dear friends Bruce and Cyndi volunteered their beautiful property on the lake for a test site, and, once a day with cooperative weather materialized, it was time.

What an amazing evening! Couldn’t have been happier with how the CinderCone performed — and the visual effect of the cut-out pattern when combined with the dancing flames was nothing short of spectacular. We stoked the flames MUCH more than required to have a nice fire in order to stress-test the design. Glad we did, as it revealed some structural shortcomings that would need to be addressed before offering these up for sale.

 

Metal may seem like a solid, stable material — one that you can rely on to hold its shape and remain true to itself under stress. In reality, it is subject to all kinds of movement when subjected to heat. These thermal stresses need to be countered to maintain the integrity of the object.

The aftermath of our stress test showed that the outer “shell” of the design handled these forces well — but the grill itself, directly in contact with the source of heat, needed some shoring up. Any welder can tell you that one only need curtail expansion and contraction throughout the heating cycle to minimize warping. The grill was allowed too much freedom in this design, and the forces went to work on it. I needed to do some redesigning, but thought I’d try to retrofit the V1.0 CinderCone before tackling V2.0.

Adding ribs that radiate outward from the center of the grill to add stiffness. Notice the bonus colors provided by the fire!

Adding ribs that radiate outward from the center of the grill to add stiffness. Notice the bonus colors provided by the fire!

The brackets not only attach the upper section to the fire basin, but they also serve to pin the edges of the grill in place. I fabricated longer brackets to spread this pinning action along the entire edge.

The brackets not only attach the upper section to the fire basin, but they also serve to pin the edges of the grill in place. I fabricated longer brackets to spread this pinning action along the entire edge.

A phalanx of new brackets ready to be installed. You’ll notice that there are only five; the side with the door doesn’t get one, and that proves to be problematic.

A phalanx of new brackets ready to be installed. You’ll notice that there are only five; the side with the door doesn’t get one, and that proves to be problematic.

After a second test fire, you can see just how much force gets applied to the grill, and why the design for the opening is not going to work.

After a second test fire, you can see just how much force gets applied to the grill, and why the design for the opening is not going to work.

So, although the overall design was a success, there are some structural details that need improving. Another sticking point was removal of the ash that accumulates beneath the grill. I’d thought that removing the top section and grill would be easy enough to access this area, but adding the longer brackets and their additional fasteners made that too big a hassle. This thing needs an ash clean-out door.

On to CinderCone Version 2!

CinderCone: How, Part 2. by Mark Leichliter

Now that the design and layout work is complete, and the laser has done its thing, the real work begins. Or the FUN, depending on your feelings about welding and sanding metal. The interesting thing about my process is just how much of the fit-up and fixturing is simplified by the earlier CAD work — there’s very little guesswork or problem solving left at this point. Photos below tells the story of assembling the first CinderCone prototype.

CinderCone: How. by Mark Leichliter

Once I decided I wanted to make a chimenea, it was time to address the “How?” I’ve spent 25 years slowly incorporating computer-aided design elements into my work, including patterns that are warped and deformed algorithmically. I had a vague idea of how I wanted the perforated pattern to look, but utilized the "mess with it 'til it looks good" method to arrive at a layout of hexagons, warped along a curving path. Not to get too far into the weeds, but that curving path acts as an attractor, deforming the hexes more strongly relative to their distance from it.

Doing a bit of time travel here, but thought this showed the pattern off nicely.

Doing a bit of time travel here, but thought this showed the pattern off nicely.

Since the humble hexagon was the seed for the pattern, I thought it appropriate to use it as the driving motif for the chimenea's main form, too. Given that there are some immutable constraints at play - scale, containing the fire, supporting the wood, channeling the smoke, etc. - much of the remaining design choices were just a matter of adjusting the form to allow for said constraints. I worked up the basic shape, then stuck an average-sized human into the scene to check the scale. The initial 40 inch height just felt too small when viewed in this context, so I added a foot. Ta Da!

Once I have the design finalized, I lay out all the parts as flat patterns for the laser cutter, then send them off to be cut.

Chimenea FOR CUT.jpg

CinderCone: A chimenea? by Mark Leichliter

So, I designed a chimenea. I’m calling it the “CinderCone.”

CinderCone chimenea with 2D dood

Why a chimenea?

(If your first question is, rather, "WHAT is a chimenea?" - Wikipedia is your friend!)

Have you seen 'em? Talk about homely! Their design is primarily driven by utility tempered by manufacturing cost - and even when some aesthetics are brought into play, like in the last example below, the result is awkward, clumsy, and, well - what the hell is that shiny brass cap doing on there? Yeesh.

I often look around at the objects we fill our lives with, and wonder if there isn't something better, something more designed and pleasing to the eye to be had. Given that our blind fealty to the baser tenets of capitalism has brought us to the brink of destroying the climate, it seems that finding not just prettier but more considered, hand-crafted items just might be a better way forward. I also really like the aesthetic and cultural experience of the small fire, it's power to enthrall us, bring us together, and transport us through time to a primal place of comfort and camaraderie as we huddle around its warmth. Add some computer-aided design and laser cutting to the mix, and you have a redolent, fiery nexus of the ancient and modern to help stave off the darkness with your friends and loved ones.

Plus, given that the corona virus torpedoed that screen project I spoke of in my last post, I was looking for something other than craft beer and mountain biking to keep me occupied.

Backpedal. by Mark Leichliter

Backpedal: Definitions

from The American Heritage® Dictionary of the English Language, 5th Edition.

  • intransitive verb To move the pedals of a bicycle or similar vehicle backward, especially to apply a brake.

  • intransitive verb To move backward by taking short quick steps, as in boxing or football.

  • intransitive verb To retreat or withdraw from a position or attitude.

 Well, that didn’t work out.

I’m referring to my previous post, wherein I formally “end” my career as a sculptor. I gave it a year, and it was crystal clear that my new endeavors were not going to pan out financially. I was scrambling to figure out what to do and why, when that stupid little notification sound emerged from my phone. It was a text from a client I’d worked with back in 2015, designing and fabricating a privacy screen for his house here in Fort Collins.

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Turns out, he has a need for another screen at his new place in Denver. When opportunity knocks, you answer – sore shoulder notwithstanding. I felt somewhat defeated at first, but, as I started digging into a new design, I realized just how much I missed the process of building artful things—actual, physical objects made to fill space and look cool doing it. There is something deeply satisfying about working out how to reach an artistic goal while also striving to make it fulfill a clear purpose. Speaking of purpose, it seems I’ve relocated mine. Exocubic Studio is back, baby!

Reinvention. by markleichliter

I was 20 years old in 1986 when I walked into Dan Ostermiller’s studio and asked for a job. Up to then, I'd been helping my Dad build houses. I was young and naive and had no idea what it meant to be a professional artist, let alone understanding the much more specialized realm of the sculptor. I ground bronze and learned to weld it; we painted rubber and slung plaster to make molds; I learned pointing up and roughing in from maquette to monument. I put all this newfound knowledge to work, sculpting my own pieces and casting them in bronze.

Somehow, the artist in me that had previously enjoyed drawing and painting fell in love with form and space and shadow, and I spent every free penny I made turning my ideas into cast metal. Casting bronze is expensive, even with the discounts the foundries gave us “rats,” the green-tinged, bleary-eyed artisans who did the dirty work on the shop floor. I discovered Brancusi and stone carving, doubly excited by the cheap, plentiful medium and the thrill of turning an ugly rock into a work of art. Somewhere around this point in the timeline, Mr. Ostermiller and I had a falling out (I pissed him off) and I found myself once again walking into a sculptor’s studio to ask for a job. Kent Ullberg wasn't just the second sculptor I worked for, he became like a second father to me. The Swede opened my eyes to a more European view of the world and of art. He also entrusted me to manage his production at the foundry, as well as handling the enlargement of some of his most impressively-scaled works.

There are a many more details and people and crazy happenings to recount, but that gets too far afield from my point. The stone carving and the metal grinding and the construction work, not to mention a detour to make a few thousand Chipotle chairs for my friend Bruce, took a serious toll on my physical health. Couple that with the inevitable diminishing of aging eyesight and a restlessness to move away from committee-driven public art, and you have the perfect recipe for a personal reinvention. And so it is with a bittersweet heart that I formally end my career as a sculptor, moving forward with excitement and trepidation into a future of greater creative freedom and less physical pain. Stay tuned to see what happens on the next episode!

Ch-ch-changes. by markleichliter

A couple pieces of news.

First, after 25 years together, I am no longer represented by the National Sculptors' Guild and Columbine Gallery.

Second, new developers have bought the building my shop was in. So, almost 4 years to the day since I moved in, (much like Elvis) I've exited the building.

Here it was in 2014, ready to get to work:

Hello Shop

Hello Shop

Goodbye Shop

Goodbye Shop

Interwoven: Installed! by markleichliter

Interwoven - INSTALLED!

Ran down to Little Rock on Sunday/Monday with Interwoven in tow. Stayed with new friends Mike and Marty, then got up Tuesday morning and bolted it down to the base. As usual, the City Parks crew were a huge help, and have become some of the best art handlers/installers in the country. I love the bridge as a backdrop: the piece was at least partially inspired by the multiple bridges across the Arkansas river, and their riveted, industrial aura.

See below for some more photos:

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interwoven-huddle.jpg
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Interwoven. by markleichliter

Interwoven is finished

Interwoven is finished

After five long months of work through the winter, Interwoven is finally done. Very happy little metal monkey over here. So pleased, in fact, that I composed a wee poem for the occasion:

Interwoven

Unseen fabric

Warp of Time

Weft of Space

The tapestry of connection

Between me and everything

Nexus

Node to node

Emergent consciousness

Synapse

And Synecdoche

Hydrogen becoming

Humanity

A Universe evolving

Eyes

with which to see

Itself