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United Artworks

United Artworks is committed to assisting other artists overcome technical issues in the production of their work. Andrew Werby, its principal, is a well-known artist and sculptor whose work spans a large number of media. For years, he has advised other artists on the technical aspects of their craft. The United Artworks web site, Juxtamorph.com, is a prized internet resource for artists seeking information on the technical aspects of casting, mold-making, and numerous other topics. It was through Andrew Werby’s own struggle with CNC technology and its application to his work that ComputerSculpture.com was begun.


ComputerSculpture.com is a great place to purchase this equipment not only because of our deep discounts, but also because we live and breathe this stuff. We use the tools we sell, and since we represent many different manufacturer’s and product lines, we can be honest about each tool’s strengths and weakness. We want to get these tools into your hands, so we’re cutting the prices down to the absolute rock bottom to be the cheapest place on the Internet for you to acquire them.

Andrew Werby’s Art

Left: “Sandstarf”, 4-axis CNC carving in boxwood with bronze base, composed from starfish, trilobite, and sand-dune ripples
					Middle: “Citrdent”, 4-axis CNC carving in walnut on elm base, composed from human teeth impressions, “Buddha’s hand” citron fruit, botryoidal malachite, aragonite crystals
					Right: “Tristarfbot”, 4-axis CNC carving in boxwood on ash base with antler finial, composed from starfish, trilobite, botryoidal malachite Left: “Crocanth”, 4-axis CNC carving in stained elm, composed from crocodile skull and anthurium stamen

					Middle: “Searopis”, 4-axis CNC carving in boxwood and ivory nut; composed from searobin (fish) and piassaba nut
					Right: “Aragscut”, 4-axis CNC carving in boxwood; composed from aragonite crystal and fossil crocodile scutes Left: “Botryflwr”, 4-axis CNC carving in boxwood on stone base with bronze finial, composed from botryoidal malachite, composite flower center, fossil cycad stem and heulandite, with liquidambar pod in bronze

					Middle: “Searopis2”, 4-axis CNC carving in walnut and ivory nut, composed from searobin (fish) and piassaba nut
					Right: “Guitgour”, 4-axis CNC carving in tupelo wood, composed from guitarfish (shark) jaw, “dinosaur” gourd, raffia nut Left: “Sharbaob”, color 3D print composed from fossil rhino teeth and shark vertebrae; textured with images of baobab trees and cycad pods

					Right: “Archiammonaut”, color 3D print composed from ammonites, archimedes (fossil bryozoan), sea urchin; textured with images of passion flower, aloe flowers Left: “Magniflora”, color 3D print composed from: magnolia pod, fish vertebra, angora goat horn, oreodont tooth; textured with images of philodendron leaves and other flowers

					Right: “Pebble1”, color 3D print composed from heightfield displacements of images of flowers and foliage, textured with images of foliage and lichens Left: “ProteanProteus”, color 3D print composed from: acorn squash, fossil turtle scute, bamboo root, bamboo coral, operculum; textured with images of proteus flowers, elephant skin, and palm trunk

					Right: “Nautivert”, color 3D print composed from: paper nautilus, ammonites, trilobite, fish vertebra, gypsum crystal; textured with images of flowers, cycads, and other foliage


As a sculptor, my work has primarily involved the use of natural forms and textures in assemblage. You can see some of the pieces I’ve done in this “juxtamorphic” style at Juxtamorph.com. The work on that site was done using traditional techniques: molding and casting the original forms, assembly and recasting in various materials. Since becoming involved with computers, 3D scanners, and CNC milling machines, I’ve stuck with this basic idea, but have scanned the source objects instead of casting them, have assembled the objects or pieces of them in a 3D modeling program, and made physical parts from the digital models using CAM software and CNC hardware. Sometimes these parts are incorporated in a piece directly, or they may be used as stamps or molds. These are a few examples.

This is a ceramic piece impressed with computer-collaged textures. I’ve found that the relatively small scale of the forms I can make with my Taig mill can be extended by their use as stamps or as cylinder seals, an ancient art form that I’ve revived for this sort of application.

Ark of C
Bamboo CAV

Bamboo root and the teeth of a cave bear are used in this 4-axis wax carving, which I subsequently cast in plaster to serve as a cylindrical stamp for clay.

Sterling silver, bronze, and boxwood, with aquamarine finial, wood and marble base. A polar array of mango and trilobite forms a base for the jewel on top. The wooden section is based on a digitization of clasped hands repeatedly simplified, while the bronze section below owes its origin to anatosaurus (duck-billed dinosaur) and mastodon teeth. The metal sections were first carved in wax on a 4-axis miniature mill, then cast using the lost-wax process.

Hologram Sculpture

This holder for a dichromate hologram is cast in sterling silver and stands on a base computer-carved in Siberian jet. Surface data collected from an allosaurus claw, a bovine thighbone, and a sunflower was used in various ways to build the component forms.

The terrain of Sun Valley, Idaho was translated from a 10-meter DEM file to a DXF, which made it readable by DeskProto.

Landscape Plaster Sculpture

This tripodal ceramic vessel is another example of the use of computer-carved stamps and molds, based on natural objects I’ve scanned and manipulated; in this case originally the teeth of a cave bear and a piece of sea-fan.

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