|Home Location||Mezz., Collection Area - J2|
|Material||Purpleheart, Indian ebony, aluminum|
|Credit line||The Center for Art in Wood Museum Collection, Center Purchase|
|Object ID Number||1995.01.01.029|
|Object Number||OBJ 38|
|Category||8: Communication Artifact|
Exhibited in Wood Turning in North America Since 1930 (2001-2002)
Michael Chinn's work has an unmistakable architectonic flavor. "Tri-10,000" is composed of a bowl form juxtaposed with other construced, linear forms. Chinn has an MFA and a strong interest in 20th century architecture. He is currently a practicing artist and a professor of art.
Glenn Adamson with Albert LeCoff
Michael Chinn's work has evolved stylistically from curved bowl-like containers, to vertical-walled cylindrical vessels, to geometric cone-based assemblies. This body of work stems from his graduate work with Frank Cummings in the late 1970s in Long Beach, California. There, Chinn was struck by the precise action of a compound table attachment for the Rockwell lathe, an apparatus which converts the lathe into a milling machine. He saw artistic possibilities in the regularity of this device, and adopted a "machinist's visual language based on the straight-line path of metal lathe tool bits." Tri-10,000 is typical of this style. Deceptively simple looking, the composition is actually a ballet of interacting forms and architectonic structure. Its smooth wooden diagonals revolve dynamically around a stable central square made of textured aluminum, producing a balance of contrasting shapes, materials, colors and textures.