Bruno Munari (IT, Milan, Oct 24, 1907-1998, Milan)
Fossile del 2000, 1959
Thermostatic valves, methacrylate, metal
13.8 x 20.3 x 12.2 cm
Galleria Sincron, Brescia, Italy
detail scan from:
Art in Turin – Bruno Munari artista totale – Museo Ettore Fico –
I think I need to start regularly posting all the random crap I pick up off the floor. People need to see my trinkets. They must be shared.
ok ur warned
deer jaw i found in the woods a few years ago, decided it would be a good charm for a bag im working on (which ill prolly post when its done)
silver plated copper wire set into cut channels in the bone and an anchor hole (thanks dremel)
specifics on how i prepared the jaw below
i packed cotton under the teeth and then superglue so they wouldnt rattle around or fall out
before grinding and sanding, very porous, many sharp splintery bits
and after smooth and purdy :)
My haul from a long weekend of beachcombing and picking up trash at a couple fishing spots. What are those little hashtag shaped things? I find them everywhere.
-Anywhere 66 are Brickly-
5 February 2026
3851 x 1483 Digital Edited brickly and mortarly
Some discarded shopping lists I collected while working at a grocery store some years ago.
Do you find them as interesting as I do? 🤔
Your gift fell out of my pocket this morning.It made a small, honest sound—not the clatter of loss,more like a breath finding the floor.I picked it up and it was cool,a pale blue pause,thumb-shaped, wave-sanded,as if the sea had been worrying it for yearsso I wouldn’t have to.If it is sea glass,it began as something sharp,once meant to break or contain,once part of a useful certainty.Now it knows…
ALTI work at a local hospital. Sometimes you see incredibly sad things when you work at any hospital. This scrawled prayer (god please bless zachariah let him live) made me sad and hopeful. I hope Zachariah made it through.
Mule
Bill Traylor
Montgomery, Alabama, United States
1939
Graphite on repurposed Granger Pipe Tabacco advertisement
50.8 x 35.56 cm
FIRST SISTER (CYBERNAUT) (five views)
Cassius stoneware, glass, found objects, camera lens, polymer clay, acrylic texture-putty, paint, circuit boards, schlag-metal leaf, verdigris patina, plexi, lacquer, brass, bronze & copper powders, porcelain, wood cradle - 11¼"x 12½"x 2¾"
This is one that was worked-on over a period of twenty-one years. The Cassius stoneware clay body was modeled and fired in 2004, but it was several years before the face was fitted to a ceramic landscape. It was also being modified to take a pair of large glass marbles as eyeballs. However, the right eye socket shattered as it was being ground, and as a result the lens from a digital camera was fitted in its place with polymer clay. W.i.p. state #4 below:
After the polymer clay was used to fit the lens to the eye socket, the face was then leafed with gold schlag metal and coated with an umber wash and removed from the landscape it had been fitted onto.
It was photographed and used in a couple of digital prints (above) but the physical piece simply sat on a shelf until 2016 when it was fitted into a ‘window’ of a four foot high textured wooden cradle with a casting of a hand. Attached to the front of the cradle was a sheet of ¼-inch plate glass. Below are two views of the piece in state #12 w.i.p. in late 2016:
It sat leaning against one of my work benches covered in a towel until 2024 when I decided to cut the cradle down and use the cradle as a 'window’ frame for the face. A black piece of glass was cut, polished and fitted into her left eye. A sanded circuit board from another dead computer was added as the background for the face. State #13 w.i.p. in October of 2024:
I had decided to add some metal objects into the textured surface of the cradle, and then leaf the front and all sides of the cradle with schlag metal with the intent to apply a verdigris patina later. Stage #14 w.i.p. in late November of 2024:
The schlag metal leafing had to be applied twice to achieve the proper coverage on the surface. The inlaid metal piece were masked-off when applying the second layer of leafing. Then the patina chemical had to be applied in several layers to get the depth of verdigris desired. State #16 w.i.p. in September of 2025:
Most of the metal inlay pieces required wire-brushing after the patina chemical has produced a brownish patina to them. At this time I added further materials to the inside of the 'window’ attaching to face or to 'float’ at different depths around the face. The sides and top of the cradle had fittings inlaid into or onto them which appeared to connect to the interior of the 'window’. Also added was the burnished black stoneware to the upper right side of the face on the 'window’ edge. Two views of state #18 w.i.p. in late October of 2025:
The final state of w.i.p. in November of 2024 was to touch-up some areas around the metal inlays in the verdigris, to add the glazed porcelain to float at the upper right of the face, and to tone down with an umber wash the four brass tubes attaching to the face. With those changes the piece was signed on the reverse. Finito. Late November 2025:
She was the first of the 'sister’ series to be begun, but the third to be completed (one still to go - Second Sister is still a w.i.p. at this point).
