100-hour workweeks and the art of welding

Figure 1: Tattooed Heart

For the majority of the last few months, from the time I came off of my most recent medical leave until now, we’ve been working mandatory seven-day weeks at the prototype shop. Before the surgeries, it wasn’t too big of a deal to work 100 hours a week, fitting in the art, fabricating—and now teaching and writing.

Doing so recently, however, has just annihilated me physically and mentally. I made commitments that in the past would have been no-brainers, but this time around, induced a lot of stress as I worked through the pain to get what needed to be done, done. Now that those commitments have been met, I’ll be smarter about pushing myself in the future. Of course I say that in the present moment; only time will tell if I hold myself to it.

The more you work, the more opportunities present themselves. The more that opportunities present themselves, the more you work to realize them. It’s a balancing act I haven’t quite mastered yet.

As preparations for my annual SEMA trip wind down and the excitement for the Detroit to Vegas journey ramps up, I figured the time was right to post some of the artwork I’ve created since getting back at it in July.

I’m really happy with how the tattooed metal pieces (Figures 1 – 11) have progressed. Thousands of hours behind a TIG torch have reached the core of my brain, and despite being diminished physically, the muscle memory and intuition that can come only from experience have settled in.

I’ve found that the sculptures take more time these days. I’m sure part of that is a result of the janky wrists, but I’m also spending more time on the details.

The Benders (Figure 12) are the result of constant requests, so every three or four years I make a few. This time around I scaled them up a bit; they’re about 8 ½ in. tall.

The ’56 F100 (Figures 13 and 14) was a commissioned piece. I love the old Ford trucks (I’ve owned two, will own more in the future), so I thoroughly enjoyed creating this.

I wanted to push myself out of my comfort zone, so I decided to take on an icon for one of the sculptures I’m displaying at SEMA’s Art Walk. The ’73 Porsche Carrera RS (Figures 15 – 18) was a definite challenge that forced me to try a few new tricks, and in the end it was worth all the cursing and gnashing of teeth.

“Tough Nut 2.0” (Figure 19) is a variation on a theme I’ve messed with a couple of times. The appeal is obvious, I think. Like the Benders, this take is scaled up some.

Figure 2: Tattooed Indian Head

The bike (Figures 20 and 21) is a work in progress. I’m modeling it after Valentino Rossi’s MotoGP Yamaha. The end game for this will be an action scene with a rider pushing the bike, knee scraping the ground, through a corner.

So I’m set to hit the road to Vegas. Did I mention it will be in a ’16 Dodge Viper ACR? Those opportunities, though. Yeah, you should follow along on Instagram at @welderassassin or Twitter @browndogwelding. And if you’re attending SEMA, make sure to stop by my booth to say hi!

All images courtesy of Brown Dog Welding.

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