One day I was sitting in the Palm Springs Art Museum, waiting for Calista who was attending a Leadership Coachella Valley meeting. I had some lined note paper, a mechanical pencil, a healthy dose of boredom and an eagerness to push the design of the ODK Hammer into something more exciting than it currently was.
Up to this point, the differences between each hammers’ shape was pretty extreme. I wanted to create an internal system or structure that they could all share. I imagined what the skeletal system of an organically grown Osteodontokeratic Hammer could look like. How would the bones fit together? How many bones would the hammer even need? Would there be areas or spaces for internal organs? Most importantly, how would the entire osteo-donto-keratic concept be distributed throughout the tool.
It’s uncanny how the very first sketch of a concept often ends up being the final design, even after hundreds of sketches have exhausted an artist’s exploration of the subject. So it was that the first sketch of the skeleton of the ODK Hammer became the structural system I would base the core shape of every subsequent hammer sculpture.
Mostly comprised of bones, the sketch included the antler-claw, a ribcage section, a small spinal column as well cartilage and ball socket joints to help absorb shock impacts. What was missing was a system that would suffer the blunt trauma in the use of the hammer’s head.
The business end of the hammer needed something special to express the purpose of the tool. I imagined that a great deal of scar tissue would accumulate in and around the impact area of the head. What the hammer needed was a substance that could be strong enough to withstand hard impacts. I’m not sure why the answer took so long for me to discover, but after mulling over my copy of Grey’s Anatomy for a day or two, the answer became clear. Teeth are the hardest elements of our skeletal system. Of course the hammer head would be reinforced by teeth, molars to be more specific.
In the time between discovering the fractures in the second set of hammers and Jonathan’s suggested solution, I decided to turn the sketches of the hammer skeleton into an actual sculpture (I guess I just needed to make things harder for myself). The challenge of pulling off the skeleton sculpture did help reignite my excitement for the whole project.
Each skeletal element is sculpted individually and assembled after the baking and painting process. Similar to the fully realized ODK Hammer, there are medium gauge wire frames to which each bone is sculpted over to give the pieces extra reinforcement.
The only thing missing from these versions of the ODK Hammer is a sturdy yet unobtrusive display stand. I’ve designed several different structures, but non of them really show off the sculptures in a flattering way. There’s always work to be done.
That pretty much brings us up to date with the whole project.
Ten full ODK Hammer sculptures will kick off the official production of the project. Five wall mounted fossil art pieces will follow next. Depending on the response from these pieces, five to ten full skeleton hammers will be created along with another five wall mounted fossil sculptures. Then, to wrap up the entire project, a final set of ten full ODK Hammers will complete the project.
If successful, I may eventually revisit the Osteodontokeratic project. I have a stack of sketches where I’ve applied the ODK concept to a large inventory of common tools, screw drivers, saws, wrenches, pliers, files, e.t.c. However, as with In A Place, I need to make room in my schedule for new projects. Currently, I have a strong interest in further exploring The Cartographer’s Dilemma as well as an all new conceptual project involving the creation of a brand new species of life. Not to mention the continued production on my next two albums.
After sharing in this journey, reading how this conceptual art project evolved, I post the question to you. Is the Osteodontokeratic Hammer built, or is it grown?