Chris Bathgate MG-3

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The MG-3 is another release in Chris Bathgate’s MG series, a functional art pocket sculpture inspired by the MG-2 and redesigned with a new profile, lightweight anodized aluminum construction, and Delrin bearings for smoother interaction with softer metals. Released as a very small limited edition with customizable color combinations, this rare and highly collectible piece is difficult to find and created for collectors who appreciate precision craftsmanship, kinetic design, and unique mechanical art.

This masterpiece come with its COA

Specifications

• Designer: Chris Bathgate
• Model: MG-3
• Series: Final release in the MG series
• Type: Functional art / kinetic art / CNC pocket sculpture
• Edition: Very small limited edition / pre-order release
• Material: Anodized aluminum body with Delrin bearings
• Bearings: Delrin (hard plastic) bearings, designed to be gentler on bearing races than ceramic bearings
• Weight: Lighter than MG-2 due to aluminum construction
• Finish: Fully anodized metallic finish
• Color Options: Customizable body and inlay color combinations (from available dye colors)
• Design Features: New profile based on MG-2, improved compatibility with anodized bearing races, smooth mechanical movement
• Special Features: Lightweight construction, broader color variation, precision-machined mechanical design
• Availability: Rare, collectible, difficult to find, limited production piece

About the maker:

• Baltimore-based artist Chris Bathgate is a self-trained machinist. He utilizes handmade tools and automated CNC (computer numerical control) milling and drilling machines to create precisely-crafted elements that assemble into complex sculptures. Machining is his method of artistic expression. He has spent more than fifteen years adapting metalworking machinery from salvaged and repurposed equipment. Bathgate’s aesthetic considerations stem from the very machines that he uses to create his sculptures. Each piece that he makes is informed by the one it is preceded by, and he modifies his machinery accordingly—not for improved practical function but for the aesthetic developments that can be produced.

  Bathgate is unique in his formalist approach to precision machining as an art form. His entire body of work is an ongoing investigation into this concept. Process lies at the heart of his practice and it serves as the primary catalyst for his ideas. He evaluates his sculptures for form and visual composition in a continuous cycle of ideation, problem solving, fabrication, analysis, and revision, similar to systems engineering. Bathgate’s carefully composed technical diagrams are evidence of his gestaltist outlook in which the whole may be deconstructed into its elements.

  Playing with the tension between aesthetic vs. utility, form vs. function, and industrial vs. handmade, Bathgate’s interdisciplinary work lies at the intersection of art, craft, and design. It serves as an example of how computer-mediated fabrication may bridge the divide between art, craft, and industrial production in the Digital Age.