In these pieces, an ordinary object seems to be "magically" transformed or transmuted into art by machines. The object changed is an ordinary ceramic coffee mug.
These three pieces all purport to be manufactured items. Duchamp co-opted manufactured items and called them art. I have approached my objects from two directions: the mug is a manufactured item transmuted to Art, the surrounding piece is a piece of art that wants to be associated with manufactured items.
I have chosen a mug for many reasons. Among those common to all the transmuter pieces are the following:

• It is an object of clay, the material from which Adam was created in the Book of Genesis.
• It is a Readymade of white porcelain, the material of Duchamp's Fountain.
• It is a vessel for a stimulant as is an art object.

Contains a Shockwave movie of the Furnace (170K)

Furnace / Transmuter (Whitney)
Photograph by Fred Scruton

My Furnace is the first in the series. To the viewer, it appears to be a small brick furnace or kiln in the shape of the Whitney Museum. Although its scale is not small, the nature of the piece is such that only one person can see the transformation at a time, making the experience a personal one. When the viewer approaches and looks inside, they see the gradual transmutation of a coffee mug. At first they are presented with an unmodified mug. The object is transmuted into a rough plaster-like version of the same object (relating to Oldenburg's storefront pieces from the sixties). It is then changed into a soft version that appears to be larger scale and set in a gallery (his large soft pieces). The final transmutation returns the mug to its original form, although it is now placed on its side in an architectural setting (a reference to Oldenburg's current works).
For me the piece works on many levels. As mentioned, the mug and its transformation are a reference to Claes Oldenburg (a master at manipulating scale, material and context to shift the viewer's perceptions). The furnace itself and the objects it contains are a comment on the relationship of institutions (like the Whitney) to the work that is nurtured and supported (often through a baptism of fire). The Piece may also be seen as a metaphor of personal growth and transformation.

Transmuter / Gen-Co 1917

This piece appears to be an art manufacturing kit and is a direct homage to Duchamp. It is the Art world equivalent of an historical novel. Where Duchamp took a manufactured object and made it art, I've taken a manufactured object and made a box that allowed you to do the same thing.

 

	Contains a Shockwave movie of the Influence Generator (252K)

Influence Generator / Transmuter
Photograph by Gregg Martin

My most recent piece in the series, the Influence Generator uses the materials and visual style of scientific instruments of the late 19th Century. In this 5 year project, the scale of the piece is larger, more complex visually, and the mechanism more exposed than in earlier works. The object is based both on an early static electricity generator (or influence generator) and various visual elements from the Metropolitan Museum of Art (although the museum reference is not as obvious as in the Furnace).

Once started by the viewer, the large glass disks begin to spin in opposite directions and the central wooden drum begins to spin. Within the drum can be seen a broken ceramic object displayed on a glass shelf. Sections of the drum are covered by rice paper and the object is alternately hidden and revealed. The speed increases gradually. The glass capacitors (Leyden jars) on either side of the drum begin to glow as do the electrodes pointing towards the center of the drum. After attaining a certain speed and charge, a discharge of electricity produces a large flash. The object inside is now partially reassembled. The speed of the disks and the drum continue to increase and the capacitors begin to glow again. A discharge of electricity and the mug inside is now nearly whole. The remaining cracks are filled and a number appears on the bottom of the cup. The machine slows to a near stop. Again a large flash and the object is once again in pieces. The machine stops.
The reference here is to the raising of an archeological artifact (for example, a Greek vase) to high art through its reassembly and placement in an institution of High Art (the Metropolitan). Such a transmutation requires a powerful apparatus as well as a tremendous amount of energy to sustain. Again, this Piece may also be seen as a metaphor of personal transformation. Often a tremendous expenditure of energy is required to maintain ourselves. Even though we appear whole and complete, the scars remain.