David C. Roy

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David C. Roy
David C. Roy, Kinetic Sculptor in 2006
David C. Roy, Kinetic Sculptor in 2006
Born 1952
Education Boston University
Known for Spring-driven kinetic sculptures of wood
Notable work Dimensions - capable of running 40 hours on a single wind[1]
Movement Kinetic art
Spouse(s) Marjorie E. "Marji" Roy, 1974-present[2]
Website woodthatworks.com

David C. Roy is a kinetic sculptor.[3][4] He has designed over 150 different moving sculptures and produced one-of-a-kind or limited edition instances of each: In total he has hand-built thousands of pieces.[5][6]

Education and career

Roy's father was an aeronautical engineer working on jet engines, and as a boy he was interested in invention and science. In 1974, Roy received a degree in physics from Boston University and then got a job as a computer programmer for an insurance company until becoming a sculptor in 1975.[7][8][9] The idea for the career direction came from his wife-to-be, Marji, who was at the time an art student at Rhode Island School of Design.[8] His sculptures, which are mainly made from laminated Baltic birch hardwood, are not timepieces but they do include clockwork-like mechanisms such as escapements, suspended weights, counter-weights, and (more recently) constant force springs.[1][10][11] They are not electrically powered because an important connection is that the viewer winds the piece by hand.[12] The run time of early models was about 30 minutes, but he has refined the technique to the point that some run up to 40 hours on a single full wind.[13] Many include the moving moiré pattern from co-axial spoked wheels rotating in opposite directions.[14] Roy focuses not only on the motion but also the sound. He has developed escapements that are either nearly silent or that produce the soft clicking of wood on wood. A few incorporate wind chime tubes.[5] In the beginning he hand drew his schematics, but he has gradually migrated to computer-assisted design and animation.[15][16]

His studio is in Ashford, Connecticut.[2]

Reception

His work has been displayed since the late 1970s in science and art museums, in art galleries, and is in corporate and private collections around the world.[17] His work and life has been covered in publications including the New York Times,[18][19] Discover magazine,[20] the Hartford Courant,[21] and the Boston Globe.[22] Writing for the Baltimore Evening Sun, Carl Schoettler waxed poetically that "Echo ... looks like a spinning wheel for ghost tales at midnight. Serendipity ... might measure rainbows."[23] Bill Aller of the New York Times found them "intriguing."[19] A turning point in Roy's career was acceptance to exhibit at the Northeast Craft Fair in Rhinebeck, New York.[12] Reviewing this exhibit at the 1979 show, Nancy Pappas of the Hartford Courant was impressed with the sculptures' "silent, hypnotic motion."[24] In the Journal Inquirer Richard Tamling wrote about the "...constantly shifting relationships among shapes - as occurs in mobiles - as well as motion and sound[25] In InformArt Magazine, Tyler Chartier found the moving parts create "...wondrous patterns that spin, swirl, flutter, and undulate in the most entrancing ways."[26] Writing for American Woodturner Journal, Peter Rand observed that the motion in the pieces is "...intriguing in its sequence, which is infused with rhythm and evolves over time."[27]

Gallery

References

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External links