My father was a metal fabrication machinery dealer in Chicago.   I recall as a child being fascinated by
the smell, shapes, and  sounds of the large gears, bearings and motors of those machines. There
were many chances to “play” with these machines and get a feeling for how they function. This
inspired me as a child to draw and construct toy fantasy devices out of parts I dissected from used
toys. The most exciting part of getting a new toy was taking it apart and understanding what made it
work.

Most of my college studies focused on art and biology.  The aesthetics of living forms were fascinating
and the art classes introduced me to many fine craftsmen who worked with different metal fabrication
technologies.  I soon realized it was possible to meld these two interests to build functional fantasy
objects.  Events on campus — including the Viet Nam protests, civil rights demonstrations and a
prevailing mood to question authority — combined with my new technological skills created the perfect
environment for creating art work with aesthetic, technological and moral  implications. My innocent
childhood feelings segued into a more purposeful artistic vision,  trying to define a technologically
perplexed world dazzled by modern day scientific advances. I am an artist who uses mechanical
technology and biomorfic aesthetic to invent devices that blur the definition of useful achievement;  
making daydreams into plausible realities.

My Design Process:
1- Focus on paradoxical societal issues
2- Define an unsolvable problem that needs a plausible mechanical solution
3- Design the sculptural mechanical aesthetic using refined craftsmanship
4- Design  kinetic mechanical systems that will animate the sculpture.

My Fabrication Process:
1- Master as many metal fabrication processes that can fit into a two car garage.
 These metal working techniques include, lathe turning, milling, internal mandrel   tube bending,
  hot and cold steel forging, Tig, Mig and Gas welding, plasma  cutting, hydraulic forming, grinding,
  polishing and texturing.
2- Take apart electronic toys and hack into the circuits to create the “brains” that define a artistic
  concept.
3- Learn about pneumatic control systems and design simple air circuits to further animate an
 artistic concept.
4- Become familiar with as many high tech metal fabrication processes and procedures as possible.
 Learn about CAD and 3-D modeling and use these technologies if needed.

When a sculptural  kinetic system is activated by human movement and this interaction makes a
person see the world in just a slightly new perspective, then I feel I have succeeded with my art.
IRA SHERMAN  ARTIST  STATEMENT
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copyright 2015   Ira D Sherman   all right reserved