Intro

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Makers

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Epilogue

SHARMANKA

EPILOGUE: AUTOMATA AND KINETIC SCULPTURE

Since the earliest beginnings of human kind, animated objects and figures have been used to communicate religious and scientific principles and perceptions of the world, and to the present day, animated sculptures have continued to possess a unique power to engage the interest of the observer. The Middle Ages in Europe saw the development of mechanical clocks with striking bells. Later Leonardo Da Vinci invented a vast number of constructions including aircraft, war machines and other mechanical devices. In Renaissance times a wide range of decorative animated features were created in the gardens of the homes of noble families.

By the sixteenth century, Germany became the centre for the development of sophisticated clocks and watches, also animated wooden toys as playthings. By this time artists craftsmen and scientists in many parts of the world were producing important automated works. From the nineteenth century, all over the world, there are many examples of new and important developments. Notably, the highly sophisticated automata, which were created in France, primarily for the purpose of home entertainment. Other somewhat crude automata were created for the purpose of entertaining holiday makers on the end of seaside piers and amusement arcades.

There is little doubt that the industrial revolution had a major impact on the development of a vast number of new inventions which combine and make extensive use of past experiments, but the availability of iron and steel in large quantities made possible constructions not possible previously. Many items scrapped from early machines produced during this period have found their way into some large kinetic sculptures produced now. With the greater importance of the impact of the machine in life, artists have made greater use of automata in their work. We find Alexander Calder creating his giant mobiles and his unique 'circus'. Jean Tinguely created sculptures with ‘junk’ often combined with lighting effects. Tinguely was a major influence on Bersudsky - some of his sculptures make use of some of his unused motors. William Heath Robinson, in his books and illustrations, created fantasy works in which curious machines, contraptions and constructions have inspired automata makers and kinetic sculptors, as do the exquisite large scale installations and illustrations of Roland Emmett.

Eduard Bersudsky and Tatiana Jakovskaya established their Sharmanka Kinetic Theatre and Gallery in Glasgow after their traumatic experiences in the former Soviet Union. The work of Eduard often defies description. One of the popular descriptions 'Heath Robinson meets Hieronymus Bosch' does have a flavour of the impact of the work.

His work is clearly rooted in the finest traditions of some of the earliest experiments in the development of automated sculptures. Bersudsky's work is of international importance and recreated aspects of the humour and tragedy of humankind, and provokes a vast range of emotions in the observer.

The Millennium Clock Tower is a unique manifestation which combines the skills of the automata maker, the clock maker, the decorative glass maker and the woodworker, all continuing the traditions of their ancient counterparts, science and entertainment. An art that interprets life and nature but does not copy it.

John Blundall

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