In 2005, while living in Asia, I came across an exploded diagram of a bicycle on the back of a magazine. I was inspired by its fragile beauty, and imagined a three-dimensional version with a physical object. Using only a ruler and simple tools, which I still use today, I developed techniques for suspension which expose the inner workings of these humble mechanical objects.

The subjects I choose for my Mechanations series are icons of utility and invention. I also like to think they hold memories we've long forgotten. They've watched generations pass; recorded every scene, love letter, and document. Each image, word, and note is permanently imprinted on them.

A Salvaged Thing

There’s a strange but familiar object, outdated and broken
Pushed far under a table in the stale vintage shop.

I found it, sleeping under a pile of other unwanteds
Counting the passage of time in dust.

This tool, once so sturdy, now feels fragile
As I drag it from its resting place.

What memories are locked inside?

A salvaged thing,
Once discarded –
Is now magnificent.

— John Peralta

*Professor Fox’s Fantastic Writing Machine*, Hammond typewriter (c. 1913), brass, wood, steel, 36” x 36” x 12”

Artist John Peralta’s work examines the emotional relationship we develop with the machines we use. He is most known for his sculptures, which transform discarded mechanical objects into astonishing, complex works of art.

Peralta looks for objects that exemplify the best design and engineering of their time, searching for something that is not entirely obsolete but has since been discarded and somewhat forgotten. Peralta’s process involves meticulous disassembly, cleaning, and minor repairs without erasing the physical memories of the object’s original owner. Peralta then builds a frame using fine walnut to complement the metal components of the machine, delicately balancing and suspending each piece. The care with which each part is meticulously and precisely constructed clearly demonstrates Peralta’s imagination, technical expertise, and inventiveness.

*Red Eye*, Singer Model 66-1 sewing machine (c. 1941), wood, steel, gold leaf, resin, mono-filament, LEDs, 42” x 18” x 30“

Red Eye shows a Singer Model 66-1 sewing machine from 1941. This was a hand cranked sewing machine that was also fitted with a treadle. The frame is handmade by the artist with gold leaf, resin, powder-coated steel, and LED light strips.

There are certain areas of this machine, as well as others in the exhibition, that show signs of wear and tear. Peralta intentionally leaves these places untouched so that traces of the object’s original owner are preserved. If you look closely, you can identify these patterns of use and see where the owner would have placed their hands to operate the machine.

*Electric Eye*, Keystone 16mm movie camera (c. 1950s), walnut, acrylic, aluminum, fluorocarbon mono-filament, 16” x 20” x 19”

This piece, Electric Eye features a consumer-grade 16mm movie camera from the 1950s. The company brand, Keystone, and model nickname, Electric Eye, can be seen written on the camera body itself. A machine like this would have been used for things like shooting home movies or general, everyday short videos.

The oldest machine in the Mechanations series is the crank phone displayed in Hommage. This Swedish-made early telephone is from c. 1890 and was made to commemorate the opening of the Eiffel Tower at the Paris World Fair. In order to make a call, the user would turn the crank, which would spin two interior magnets and create an electrical charge. This charge would travel down the phone line and notify the operator that there was a call. Similarly, two electromagnets would receive an electrical charge and begin vibrating when there was a call, thus causing two bells located at the bottom of the phone to ring. Interestingly, both feet of the phone itself are actually large magnets.

*Hommage*, L.M. Ericsson “Eiffel Tower” telephone (c. 1890), steel, walnut, mono-filament, LEDs, 36” x 12” x 39“

*To Save Time Is To Lengthen Life*, Remington Portable #2 Typewriter (c. 1925), wood, steel & nylon mono-filament, LEDs, 39” x 50.5” x 12“

This sculpture is named after the Remington typewriter company motto, To Save Time Is To Lengthen Life. This motto can actually be seen written on the red logo in the lower left hand of the typewriter body. The artist first learned to type on one of these Remington #2 Portable typewriters, which was the first real sturdy, portable model of typewriter available. This specific machine was gifted to Peralta by his grandmother to use in one of his sculptures.

*Thing One and Thing Two*, Ansonia “Flip Clock” (c. 1904), brass, velvet, glass, 7” x 7” x 15“

Titled Thing One and Thing Two for the shapes made by the splayed pages, this “Flip Clock” from 1904 is a fully functional time piece and artistic sculpture. When assembled, the clock stands just 4.5” tall, but Peralta took the clock apart and turned it inside out to expand the inner workings and put them on display. A key is inserted into the bottom of the clock to wind the gears, which then will flip to a new page for every minute. The pages are Bakelite plastic, the gears are brass, and the glass cloche and brass base were handcrafted and added to the design by the artist. The clock is intentionally made to be leaning back so that the pages do not flip open on their own.

*Spectacles d’Opéra*, Le Maire Opera Glasses (c. 1918), brass, mother of pearl, glass, walnut, 20” x 6.75” x 9“

Spectacles d’Opéra shows a pair of French-made Le Maire opera glasses from 1918. These are inlaid with mother of pearl and would have been made for a lady’s use. If you look closely between the two lenses, you can see the engraved initials of the original owner C.E.G.

Professor Fox’s Fantastic Writing Machine features a very rare and collectible Hammond typewriter from 1913. Along with its curved keyboard, this typewriter has a number of unique features. Rather than holding a single sheet of paper, this machine had the ability to hold a roll of paper and could easily switch between two different fonts. Most typewriters would have a hammer that would press each letter into the paper, however, this model would strike the paper from behind and press the paper into the letters held on a rotating dial. Details about this specific machine can be researched online with the serial number present on the back. The artist chose the title for this sculpture after an English professor, Mr. Fox at Harvard University.

The Three Eyed Raven is a professional-grade 16mm movie camera made by Paillard-Bolex in the 1950s, capable of shooting 30 frames per second. A lot of filmmakers working in Hollywood today would have started learning to use a camera on this kind of model, including Ridley Scott, David Lynch, Jonas Mekas, Peter Jackson, Terry Gilliam, Will Vinton, Maya Deren, Steven Spielberg and Spike Lee.

A young Steven Spielberg with a 16mm Paillard-Bolex camera.

*Three Eyed Raven*, Paillard-Bolex 16mm film camera (c. 1950), wood, steel, mono-filament, LEDs, 40” x 13” x 40”

John A. Peralta, b. 1965 in Denver, CO, currently lives and works in Austin, TX. His work has been shown at The Lancaster Museum of Art and History, Lancaster, CA; The Bridgehampton Museum, Bridgehampton, NY; the LA Art Show, Los Angeles, CA; Sculpture Objects Functional Art and Design Fair, Chicago, IL; and many other galleries in the U.S. Peralta has held major exhibitions in New York, Los Angeles, Chicago, Dallas, Austin, and Santa Fe. His work is part of collections at The Biogena Museum, Strausburg, Austria; Virgin Hotels, Nashville, TN; The Dubai Mall, Dubai UAE; Fender Musical Instruments Corp., Scottsdale, AZ; and Sallyport Investments, Houston, TX. Commissions for private collectors and corporate clients are also a significant part of Peralta’s work.