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	<title>Chachi Mathis</title>
	<link>https://chachibangbang.com</link>
	<description>Chachi Mathis</description>
	<pubDate>Tue, 07 Apr 2026 17:45:55 +0000</pubDate>
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		<title>Chachi intro</title>
				
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		<pubDate>Fri, 15 Mar 2024 00:11:45 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

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		<title>The Body is a Drum, the Voice a Song, the Soul a Fire</title>
				
		<link>https://chachibangbang.com/The-Body-is-a-Drum-the-Voice-a-Song-the-Soul-a-Fire</link>

		<pubDate>Tue, 07 Apr 2026 17:45:55 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

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	The Body is a Drum, the Voice 
a Song, the Soul&#38;nbsp; a Fire&#38;nbsp; 2025




	

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	Bespoke listening stations designed and fabricated for the exhibition The Body is a Drum, The Voice a Song, The Soul a Fire, at the Knoxville Museum of Art from November 2025—March 2026.

Two large circular benches/platforms provided comfortable spaces to listen to a selection of audio archives from the Highlander Center.

	

This moving and succinct exhibition brought together the work of

Tabitha Arnold, Dianna Settles, and Lewis Hine, artists

 whose work calls attention to lives shaped by labor. Working with the KMA and Assistant Curator, Kelsie Conley, I explored traditional production techniques, paying homage to the region’s craft history with contemporary materials and processes.

	


 
 
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	The Pine and Cedar structures are inspired by Appalachian coopering, a specialized woodworking craft in which a number of identical staves are carefully angled and held in place with wood or metal bands. Today there are very few people who still hold the knowledge to create watertight vessels made without glue or nails.&#38;nbsp;

	To precisely create the frames, a series of clamping forms were cut on a CNC router. The White Pine staves were milled on a tablesaw, with holes drilled using a simple registration jig and side slots cut with a biscuit joiner. The sections were glued and clamped with ratchet straps, and bracing rings of cedar were added to the interior cylinder bottoms.&#38;nbsp;
 
	



	

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To design the seating surfaces, I researched traditional weaving patterns that use reed, cane, grass and cotton tape to create comfortable, flexible and repairable membranes. One of the most common methods, the 7—step caning pattern, weaves 2 horizontal, 2 vertical, and 2 diagonal passes to create hexagonal openings. The pattern is strong and attractive, while allowing sound and air to circulate.


	I adapted and enlarged the pattern by replacing rattan cane with 3/4” Polypropelene webbing, which is commonly used for outdoor softgoods such as backpacks and camping equipment. By tensioning the webbing during the weaving process, I was able to achieve a springy yet stable surface for sitting, laying, lounging and listening.&#38;nbsp;Photographs by Kelsie Conley and Charles Mathis. Project assistance by Kyle Cottier and Nick Rodrigues.








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&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/7d19061f9c588125d12a34eaf0a9bf24c7be9b8916c5abacecd2c19c42d7b1e1/DRUM-BENCHES-PROCESS-3.jpg" data-mid="246947885" border="0"  src="https://freight.cargo.site/w/1000/i/7d19061f9c588125d12a34eaf0a9bf24c7be9b8916c5abacecd2c19c42d7b1e1/DRUM-BENCHES-PROCESS-3.jpg" /&#62;

 
 
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</description>
		
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	<item>
		<title>Watermelon Works</title>
				
		<link>https://chachibangbang.com/Watermelon-Works</link>

		<pubDate>Fri, 09 Feb 2024 02:45:53 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Watermelon-Works</guid>

		<description>
	Watermelon Works &#38;nbsp;2012




	

&#60;img width="2516" height="3508" width_o="2516" height_o="3508" data-src="https://freight.cargo.site/t/original/i/fae88bc6e4b7d37c20bda23ad349297f10e3c1493188d5c0fff8f83b23f77acb/Table-ECAL-Philippe-Fragniere_LP.jpg" data-mid="204262402" border="0"  src="https://freight.cargo.site/w/1000/i/fae88bc6e4b7d37c20bda23ad349297f10e3c1493188d5c0fff8f83b23f77acb/Table-ECAL-Philippe-Fragniere_LP.jpg" /&#62;
&#60;img width="600" height="809" width_o="600" height_o="809" data-src="https://freight.cargo.site/t/original/i/978a3ea318158ade0eef67f6b296b34e78951f68f022512ee6866f2df4380793/_DSC3301RR.jpg" data-mid="204262405" border="0"  src="https://freight.cargo.site/w/600/i/978a3ea318158ade0eef67f6b296b34e78951f68f022512ee6866f2df4380793/_DSC3301RR.jpg" /&#62;


 

	

	In 1964, American author Richard Brautigan wrote a short fictional novel, In Watermelon Sugar, about an imaginary world whose inhabitants construct their lives solely with the materials they have around them. Stones are gathered, wood is harvested from the nearby forest, and sugar from watermelons is boiled and worked into numerous forms. The character’s lives are framed by a communal desire to live in harmony with their environment, shunning the remains of an advanced technological society which is remembered only in piles of rotting relics called ‘The Forgotten Works’.

	


 
 
&#60;img width="3150" height="2362" width_o="3150" height_o="2362" data-src="https://freight.cargo.site/t/original/i/da67f3ddaa1dc4341aa09f20594cd80667532ee97b1b3c9598e0e85bd57260c4/MasterDI_objets_15.jpg" data-mid="204262404" border="0"  src="https://freight.cargo.site/w/1000/i/da67f3ddaa1dc4341aa09f20594cd80667532ee97b1b3c9598e0e85bd57260c4/MasterDI_objets_15.jpg" /&#62;

 

	
Watermelon Works is both a tribute to the novel and a research project inspired and motivated by the atmosphere and poetic realities of Brautigan’s fictional world. The project resulted in an illustrated version of the novel, a series of drawings, numerous experiments and two finished design-objects. The experiments centered on the use of sugar in combination with wood, stone and modern technologies such as led lighting and CNC machining. In creating these designs I endeavored to ask questions, to challenge conventional views concerning temporality and sustainability within the world of industrial design.

	Sugar is a fascinating material, capable of taking many forms. Similar to metal, glass, water and wax, it exists in different states, a supercooled liquid or crystalline structure constantly affected by its environment. My experiments led in many directions, fed by reading, drawing and Youtube. Fascinated by a deep dive into the world of candy making, I eventually focused on making various forms of hard candy. I used its properties in a number of ways, as a glue, a binder, a thermo-set structure and eventually as a castable medium.
 
	



	

&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/70cc3e448b7e439f931c089a921db2e841c0cb6a202faf0f148cca78f4b7d44e/IMG_1292.JPG" data-mid="204262797" border="0"  src="https://freight.cargo.site/w/1000/i/70cc3e448b7e439f931c089a921db2e841c0cb6a202faf0f148cca78f4b7d44e/IMG_1292.JPG" /&#62;
&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/dd064d44c34b5569749e6174f351f77fa8503b9db7c66fde1227d40abf2e965e/IMG_1568.JPG" data-mid="204262790" border="0"  src="https://freight.cargo.site/w/1000/i/dd064d44c34b5569749e6174f351f77fa8503b9db7c66fde1227d40abf2e965e/IMG_1568.JPG" /&#62;
&#60;img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/9fef0243c00051509fe18bdc74ee901dab2acb448351b992aaecb9eff997e473/IMG_1299.JPG" data-mid="204262798" border="0"  src="https://freight.cargo.site/w/1000/i/9fef0243c00051509fe18bdc74ee901dab2acb448351b992aaecb9eff997e473/IMG_1299.JPG" /&#62;

	

&#60;img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/507fb9d75c16fcb3e93a75f0d79b5ef721927697ecb7ebf1c0cba728d4a2c3a4/IMG_1661.JPG" data-mid="204262795" border="0"  src="https://freight.cargo.site/w/1000/i/507fb9d75c16fcb3e93a75f0d79b5ef721927697ecb7ebf1c0cba728d4a2c3a4/IMG_1661.JPG" /&#62;
&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/bf1768f2a0e2d9bf3685e253f58c3b29e22a3c9c432ef7a3596a0b7d94b39540/IMG_1729.JPG" data-mid="204262799" border="0"  src="https://freight.cargo.site/w/1000/i/bf1768f2a0e2d9bf3685e253f58c3b29e22a3c9c432ef7a3596a0b7d94b39540/IMG_1729.JPG" /&#62;
&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/f3c9e70bfff8b64caf605623c16f122895708a7940b66eea426c9aa96e665c81/IMG_1246.JPG" data-mid="204262791" border="0"  src="https://freight.cargo.site/w/1000/i/f3c9e70bfff8b64caf605623c16f122895708a7940b66eea426c9aa96e665c81/IMG_1246.JPG" /&#62;

	
	I have always been enamored with people groups that, past or present, utilize knowledge of the natural world and its resources to construct their lives: structures, tools, building materials etc. With constant use and care the objects, places and systems we build can last indefinitely, even if constructed with organic or minimally processed materials. Perhaps it is not the material itself that is most important to the longevity of our built objects and environments, but the energy and focus we give their extraction, formation and use.

Photographs by Philippe Fragnière, ÉCAL, and Charles Mathis.




&#60;img width="1713" height="1181" width_o="1713" height_o="1181" data-src="https://freight.cargo.site/t/original/i/3a6f347d858e15c93cc9146d0b9370add5a212533baf7fe7ca704782ef9729ba/15_scan.jpg" data-mid="204262862" border="0"  src="https://freight.cargo.site/w/1000/i/3a6f347d858e15c93cc9146d0b9370add5a212533baf7fe7ca704782ef9729ba/15_scan.jpg" /&#62;
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&#60;img width="600" height="400" width_o="600" height_o="400" data-src="https://freight.cargo.site/t/original/i/3727fd20a78990dcf70a3a05d9b0aa0092b9e4e464572c3db769f1382fe2bdd8/_DSC3359RR.jpg" data-mid="204262406" border="0"  src="https://freight.cargo.site/w/600/i/3727fd20a78990dcf70a3a05d9b0aa0092b9e4e464572c3db769f1382fe2bdd8/_DSC3359RR.jpg" /&#62;

&#60;img width="612" height="55" width_o="612" height_o="55" data-src="https://freight.cargo.site/t/original/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" data-mid="207144224" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/612/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Altered Limbs</title>
				
		<link>https://chachibangbang.com/Altered-Limbs</link>

		<pubDate>Wed, 25 Mar 2026 21:17:37 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Altered-Limbs</guid>

		<description>
	Altered Limbs &#38;nbsp;2025-ongoing




	

&#60;img width="5417" height="3615" width_o="5417" height_o="3615" data-src="https://freight.cargo.site/t/original/i/f28239b590f1f91382fc57f30d806e381bb12c96c15acb96e32202859254cbac/CHACHI-LIMBS-10.jpg" data-mid="246872814" border="0"  src="https://freight.cargo.site/w/1000/i/f28239b590f1f91382fc57f30d806e381bb12c96c15acb96e32202859254cbac/CHACHI-LIMBS-10.jpg" /&#62;


 

	An ongoing edition of functional wall pieces made from downed limbs sourced near my studio in East Tennessee. Limbs with prominent branching junctions are selected and worked while still green, using hand tools such as an axe, drawknive, spokeshave, sloyd knife, riving knife and scrapers. Aside from occasional chainsaw use for harvesting, all other production is human-powered.

	Additional ‘branches’ are added using the same joinery processes used for making traditional staked furniture. The limbs are joyfully repositionable, mount with a slotted joint, and are locked by a wedge. Custom french cleats inspired by Shaker peg rails complete the system. Varying lengths of rails and curated selections of Limbs enable easily individualized installations.

	


 
 
&#60;img width="5133" height="3422" width_o="5133" height_o="3422" data-src="https://freight.cargo.site/t/original/i/6c6a62f2d9ef779fc57bd09b294300ca1b30b295a122b102f1c4f968035ce27a/CHACHI-LIMBS-3.jpg" data-mid="246939670" border="0"  src="https://freight.cargo.site/w/1000/i/6c6a62f2d9ef779fc57bd09b294300ca1b30b295a122b102f1c4f968035ce27a/CHACHI-LIMBS-3.jpg" /&#62;

 

	
There a long and rich history of pragmatic woodworking in this region of the country, kept alive by cultural institutions such as Foxfire, the Museum of Appalachia, and craft schools such as Arrowmont, Pecosin Arts, Penland and the John C. Cambell Folk School. I am inspired by the historical use of branched lumber for utilitarian purposes, such as for ‘crook hooks’ or structural posts. The forked area of a limb contains cross-linked grain that is extremely strong, yet rarely utilized.

	Although Green woodworking is commonly viewed as quaint, old-fashioned, rustic or primitive, I am finding its methods to be sustainable, efficient, and materially connected. The growth and form of the tree influences and directs the shaping of the work. There is little sawdust or noise from machinery, making the process serene and enjoyable.
 
	



	

&#60;img width="3702" height="5553" width_o="3702" height_o="5553" data-src="https://freight.cargo.site/t/original/i/5e04cdcc2c45ac26fe282a1884ee06e007262d7157828d085d2822bfb676eae9/CHACHI-LIMBS-7.jpg" data-mid="246872811" border="0"  src="https://freight.cargo.site/w/1000/i/5e04cdcc2c45ac26fe282a1884ee06e007262d7157828d085d2822bfb676eae9/CHACHI-LIMBS-7.jpg" /&#62;
&#60;img width="3590" height="5386" width_o="3590" height_o="5386" data-src="https://freight.cargo.site/t/original/i/de4a8ed7d01d589b2c7ce35e9b5c0dbd0710d54a26b65d78c98fb83fd7688322/CHACHI-LIMBS-15.jpg" data-mid="246872819" border="0"  src="https://freight.cargo.site/w/1000/i/de4a8ed7d01d589b2c7ce35e9b5c0dbd0710d54a26b65d78c98fb83fd7688322/CHACHI-LIMBS-15.jpg" /&#62;

	

&#60;img width="3611" height="5417" width_o="3611" height_o="5417" data-src="https://freight.cargo.site/t/original/i/d879fa503f04078df031b35d51a6bc424eedd14ed04c400933ad5d1c86e805aa/CHACHI-LIMBS-22.jpg" data-mid="246872826" border="0"  src="https://freight.cargo.site/w/1000/i/d879fa503f04078df031b35d51a6bc424eedd14ed04c400933ad5d1c86e805aa/CHACHI-LIMBS-22.jpg" /&#62;
&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/12f5750ae054f82574533f5e52738f39dda8b230af1f0310b632a97255b37eb9/CHACHI-LIMBS-21.jpg" data-mid="246872825" border="0"  src="https://freight.cargo.site/w/1000/i/12f5750ae054f82574533f5e52738f39dda8b230af1f0310b632a97255b37eb9/CHACHI-LIMBS-21.jpg" /&#62;
&#60;img width="3649" height="5474" width_o="3649" height_o="5474" data-src="https://freight.cargo.site/t/original/i/b4967c1b77d96a9d0d1a165c12fc74fb06085f3190d672311c63007686ca99e4/CHACHI-LIMBS-5.jpg" data-mid="246872809" border="0"  src="https://freight.cargo.site/w/1000/i/b4967c1b77d96a9d0d1a165c12fc74fb06085f3190d672311c63007686ca99e4/CHACHI-LIMBS-5.jpg" /&#62;
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&#60;img width="3451" height="5176" width_o="3451" height_o="5176" data-src="https://freight.cargo.site/t/original/i/96bb7488b6d49420d13f3bd29b478217d314364400eda3e0aef45721966e76a5/CHACHI-LIMBS-20.jpg" data-mid="246872824" border="0"  src="https://freight.cargo.site/w/1000/i/96bb7488b6d49420d13f3bd29b478217d314364400eda3e0aef45721966e76a5/CHACHI-LIMBS-20.jpg" /&#62;

 

	

Modern woodworking predominantly relies on industrial fabrication: fossil-fuel-powered tools, precision machinery, accelerated production. Increasingly, I experience this mode of making as oppositional to the material itself: wood is baked, forced, ripped, standardized. The methodology of the machine ignores the individuality of the tree.




	In addition to the Limbs, I have been exploring Green woodworking as a way to make tools for my studio, such as chopping blocks, mallets, handles and work furniture. Currently much of my studio practice is dedicated to learning pre-industrial skills.Photographs by Charles Mathis.





&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/6c5aa461b1488b1ca3506b4f9d63e4e8d2d5dfc65ac8b781fea8b97ed33361e4/ALTERED-LIMBS-PROCESS-4.jpg" data-mid="246939129" border="0"  src="https://freight.cargo.site/w/1000/i/6c5aa461b1488b1ca3506b4f9d63e4e8d2d5dfc65ac8b781fea8b97ed33361e4/ALTERED-LIMBS-PROCESS-4.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Poly Mug</title>
				
		<link>https://chachibangbang.com/Poly-Mug</link>

		<pubDate>Fri, 16 Jan 2026 17:20:46 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Poly-Mug</guid>

		<description>
	POLYMUG &#38;nbsp;2025




	

&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/99d1d85099ccdaf1c171c51d7184b7d1a5c677dc5d005c52468f798cdba521d4/DSC_5861.JPG" data-mid="243378861" border="0"  src="https://freight.cargo.site/w/1000/i/99d1d85099ccdaf1c171c51d7184b7d1a5c677dc5d005c52468f798cdba521d4/DSC_5861.JPG" /&#62;


 

	
	Fusing digital fabrication with traditional craft skills, the Polymug is a Critical + Design collaboration with ceramicist Daniel Garver, while completing a year-long residency at the Penland School of Craft in the mountains of North Carolina.
This project began with a quest to design an ideal cocktail glass, and morphed into a super-functional mug for hot and cold beverages. The slip-cast double-wall and super tactile form eliminates the need for a traditional handle. Undulating ridges invite, insulate, and cradle the hand.


	


 
 
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Form-finding was executed entirely using custom Grasshopper scripts in Rhino. Prototypes were quickly realized and tested using a Prusa 3D printer. The two versions, faceted and smooth, were generated from a single source model and dualized with a single command, Extract Polygon Mesh.

	Daniel created beautiful multi-part plaster molds for casting a small production run in porcelain, also using his distinctive matte glaze and color palatte. The cups were presented and sold at an open-studio cocktail dance party, in one of Penland’s historic studios.


	

	

&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/6ee25264331a4e03629aa487dffa9b39b04c963dfc34fbaa5b337a839111fab6/DSC_5882.JPG" data-mid="243378864" border="0"  src="https://freight.cargo.site/w/1000/i/6ee25264331a4e03629aa487dffa9b39b04c963dfc34fbaa5b337a839111fab6/DSC_5882.JPG" /&#62;

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</description>
		
	</item>
		
		
	<item>
		<title>Critical + Design</title>
				
		<link>https://chachibangbang.com/Critical-Design</link>

		<pubDate>Thu, 28 Aug 2025 20:14:08 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Critical-Design</guid>

		<description>
	Critical + Design&#38;nbsp; Collection 1 &#38;nbsp;2013




 

	Critical + is a collaborative formed in the Netherlands with jewelers Annika Pettersson and Adam Grinovich. The group originated from aggressively conceptual discourse revolving around fine art, design, and perceived limitations governing the creative field.


	Critical + is interested in nomadic urban living. The group's spirit was grounded in the reality of living as outsiders in unfamiliar places, with no certain futures or concrete stability. Collection 1 was driven by compulsion, desire, necessity and the need to create functional pieces that address marginalized ways of living. A keen eye for selection and local sourcing were combined with personal articulation, combining the power of the ready-made with an expressionistic spirit. 
 


 

	

	

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	Collection 1 was completed and exhibited while concurrently in Residence at Het Wilde Weten in Rotterdam, and sqatting in the now defunct Tabakspanden in Amsterdam.
All images for Collection 1 were taken in Rotterdam by Dorothea van der Staaij with art direction by Critical + Design.&#38;nbsp;
 
 
&#60;img width="612" height="55" width_o="612" height_o="55" data-src="https://freight.cargo.site/t/original/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" data-mid="237593033" border="0"  src="https://freight.cargo.site/w/612/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Objects for the Hand</title>
				
		<link>https://chachibangbang.com/Objects-for-the-Hand</link>

		<pubDate>Thu, 20 Feb 2025 00:20:56 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Objects-for-the-Hand</guid>

		<description>
	Objects for the Hand &#38;nbsp;2024




	

&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/7219240e39ccacf7a24ced4985b5768bb98fc23b7a6866b7610f424d82d7af41/DSC_3951.jpeg" data-mid="226907841" border="0"  src="https://freight.cargo.site/w/1000/i/7219240e39ccacf7a24ced4985b5768bb98fc23b7a6866b7610f424d82d7af41/DSC_3951.jpeg" /&#62;


 

	The first of two projects for the College of Architecture and Design fourth year Interior Architecture course, Furniture and Domesticity, introduced students to the world of woodworking. Students were asked to research and consider the importance and history of heirlooms, then to design and craft one of their own. Emphasis was placed on experimenting with both traditional techniques using hand tools (hand-saws, chisels, gouges) and modern powered equipment (lathes, bandsaws, tablesaws and routers).


	A field trip to Jeffries Woodworks provided context on locally available wood species, and how to choose certain species for specific properties and purposes. Tennessee is known for its diversity of domestic hard and soft woods, as well as exotic options not commonly found elsewhere in the country, such as spalted and wormy Maple, Hackberry and Mulberry. 



	


	

	


 
	

&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/a0ab5cd5634c782292845dc29e6d701fe25abe98748b242fcbad4262a79e6db3/DSC_3876.jpeg" data-mid="226907667" border="0"  src="https://freight.cargo.site/w/1000/i/a0ab5cd5634c782292845dc29e6d701fe25abe98748b242fcbad4262a79e6db3/DSC_3876.jpeg" /&#62;
&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/9f8f047c428f6d162dac8a90ba216533a5a0041d2bead504953e11da925bd4fe/DSC_3872.jpeg" data-mid="226907651" border="0"  src="https://freight.cargo.site/w/1000/i/9f8f047c428f6d162dac8a90ba216533a5a0041d2bead504953e11da925bd4fe/DSC_3872.jpeg" /&#62;

 

	

The results of the project were displayed for one day, on a long table in the atrium of the Art and Architecture building. The exhibit attracted a great deal of attention, inspiring other students to explore the college’s comprehensive woodworking resources housed in two facilities; the on-campus woodshop and off-campus Fab Lab. 

 
 
	


	

&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/df319b5940b9c8e3b413f1ea4bdccff8d934a08f5dfbb18bc644630f4d499d26/DSC_3896.jpeg" data-mid="226907686" border="0"  src="https://freight.cargo.site/w/1000/i/df319b5940b9c8e3b413f1ea4bdccff8d934a08f5dfbb18bc644630f4d499d26/DSC_3896.jpeg" /&#62;
&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/11855c956782e504803a003354f6bdaeda9b1f09abd57894c062869cd632973e/DSC_3932.jpeg" data-mid="226907705" border="0"  src="https://freight.cargo.site/w/1000/i/11855c956782e504803a003354f6bdaeda9b1f09abd57894c062869cd632973e/DSC_3932.jpeg" /&#62;
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&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/793a4778ee6a06ef8e5c1a0d55cef2b1b2fb3fb317a980e3732afdceef85a6f3/DSC_3957.jpeg" data-mid="226907920" border="0"  src="https://freight.cargo.site/w/1000/i/793a4778ee6a06ef8e5c1a0d55cef2b1b2fb3fb317a980e3732afdceef85a6f3/DSC_3957.jpeg" /&#62;

	

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	Despite the long history and prevalence of traditional woodworking craft in Appalachia, these skills are not typically included in college design curricula. It is my hope that the knowledge and experience gained from hands-on craft techniques will enrich the work of future designers, as a complement to digitally focused workflows within modern academia. 

Photographs by Charles Mathis.


	

	

&#60;img width="612" height="55" width_o="612" height_o="55" data-src="https://freight.cargo.site/t/original/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" data-mid="226907478" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/612/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Shift Relic</title>
				
		<link>https://chachibangbang.com/Shift-Relic</link>

		<pubDate>Wed, 05 Jun 2024 02:32:58 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Shift-Relic</guid>

		<description>
	Shift Relic&#38;nbsp;2015




	

&#60;img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/d265c622214f28902a220523b0be806501c22de91c9b2854c9cf710a5084bf43/IMG_6099.jpg" data-mid="212335658" border="0"  src="https://freight.cargo.site/w/1000/i/d265c622214f28902a220523b0be806501c22de91c9b2854c9cf710a5084bf43/IMG_6099.jpg" /&#62;


 

	Shift Relic is a series of collaborative objects made with fungi, insects and my good friend, sculptor Matt Stone.


 

	During my last year of High School my father was given a large batch of lumber that had been milled from a neighbor’s tree. The tree was an old Copper Beech that had fallen ill, requiring felling and removal. I helped him stack, sticker and cover the planks on pallets outside our backyard shed. Around fifteen years later during a visit to my childhood home I discovered the lumber was still there, untouched by human hands since the day of its stacking. It had however been touched by generations of fungi and insects, which colored and pierced the wood with wild spalted lines, flaming patterns and thousands of tunnels.

	Some of the lumber was too rotten to use and was returned to the forest behind the shed. The rest I milled into smooth planks, revealing the work of many small organisms. From these planks I designed and made a series of shrines, sacred spaces for special objects. Matt Stone created an accompanying set of sculptures to reside with and within the shrines.


	


 
 
&#60;img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/ebac6b547db8df16801f58e06352af661a477477d67a2f554035895edd5cd01b/IMG_6089.jpg" data-mid="212335652" border="0"  src="https://freight.cargo.site/w/1000/i/ebac6b547db8df16801f58e06352af661a477477d67a2f554035895edd5cd01b/IMG_6089.jpg" /&#62;
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	Matt Stone is one of the first artists I know of to utilize FDM prints as an art material. The mixed media sculptures combine PLA, resin, concrete, pigment, paint and natural materials such as found shells and bits of wood. Some play with function, holding incense or other objects. Others are hidden in drawers.




	



	


	

&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/3d7ff27920a2f2583634f0e4e1429bd2052f06bd143f76117ad1f41b97f8be04/IMG_6109.jpg" data-mid="212335663" border="0"  src="https://freight.cargo.site/w/1000/i/3d7ff27920a2f2583634f0e4e1429bd2052f06bd143f76117ad1f41b97f8be04/IMG_6109.jpg" /&#62;
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The Shrines feature a novel installation technique using wedged dovetail cleats that slide into milled grooves located on the backs of the panels. The woodwork took place in my father’s garage workshop, the accomanying sculptures were made in&#38;nbsp; and shown in Boston’s South End. During the opening night a storm knocked out the power for the entire neighborhood, forcing visitors to view the work with candles and flashlights for the entirety of the evening. 




	

    

	

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	</item>
		
		
	<item>
		<title>Tilthaus</title>
				
		<link>https://chachibangbang.com/Tilthaus</link>

		<pubDate>Wed, 19 Feb 2025 20:19:32 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Tilthaus</guid>

		<description>
	Tilthaus &#38;nbsp;2016




	

&#60;img width="2736" height="2736" width_o="2736" height_o="2736" data-src="https://freight.cargo.site/t/original/i/b96e72ae40a718fa8e18a4a74e5b3b817e49860c551b8d995a98d4323c01f6ff/10-degree-24.jpg" data-mid="226897268" border="0"  src="https://freight.cargo.site/w/1000/i/b96e72ae40a718fa8e18a4a74e5b3b817e49860c551b8d995a98d4323c01f6ff/10-degree-24.jpg" /&#62;



 

	A family of honest yet refined furniture pieces for a private residence in Philadelphia. The slim budget dictated all parameters, guiding material choice, construction methods and aesthetics. Pre-milled Pine and Poplar boards were locally sourced to reduce material and transport costs. Limited cuts and straightforward joinery contributed to the goal of maxiumum material and labor efficiency, requiring limited use of specialized tools or machinery.

	The family includes a table, benches and 3 heights of stools, all using the same angles and language of construction. The majority of the joinery utilizes plugged screws, except the benches which have double-wedged tenons.

	





&#60;img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/b85dc5c56356663db9861ccf871b8c273f60e87d4ac3172ce2f343a7fd784715/10-degree-04.jpg" data-mid="226897248" border="0"  src="https://freight.cargo.site/w/1000/i/b85dc5c56356663db9861ccf871b8c273f60e87d4ac3172ce2f343a7fd784715/10-degree-04.jpg" /&#62;


 

	As with many designers, I am continually inspired by Enzo Mari’s project Autoprogettazione, his ever-relevant&#38;nbsp; provocation reflecting on industrial production and how to help the general public understand design through the act of making furniture with their own hands.

	This project is one of many attempts I have made to design and self-produce furniture that is strong, modern, functional and understated, while accessible to the average consumer. Not the easiest Venn diagram to be sure.



	





	

&#60;img width="2572" height="3429" width_o="2572" height_o="3429" data-src="https://freight.cargo.site/t/original/i/fb11847562cbaa61e36588ba23774284efe7fb01627b4cf18313e1c9664b1f5d/10-degree-06.jpg" data-mid="226897250" border="0"  src="https://freight.cargo.site/w/1000/i/fb11847562cbaa61e36588ba23774284efe7fb01627b4cf18313e1c9664b1f5d/10-degree-06.jpg" /&#62;
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The diagonal supports on the benches and stools are joined in such a way to allow the seat boards to expand and contract without binding due to changes in humidity. With development, I believe I could push the designs further to make them able to disassemble for flat-pack shipping. My own version of an IKEA-like product.




	

	

&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/218a4dd1aff2868fba62d165b10e26b16e1c1fe7b9e85f4a01fdfabb560ed6d6/IMG_2994.JPEG" data-mid="226906662" border="0"  src="https://freight.cargo.site/w/1000/i/218a4dd1aff2868fba62d165b10e26b16e1c1fe7b9e85f4a01fdfabb560ed6d6/IMG_2994.JPEG" /&#62;
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&#60;img width="612" height="55" width_o="612" height_o="55" data-src="https://freight.cargo.site/t/original/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" data-mid="226897244" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/612/i/91e38d0c7d1bffc597a5b23e30c875b81facd82c8ce379666eff79831e1318f3/bracket-02.svg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Lemoyne Terrazzo</title>
				
		<link>https://chachibangbang.com/Lemoyne-Terrazzo</link>

		<pubDate>Thu, 05 Sep 2024 04:57:02 +0000</pubDate>

		<dc:creator>Chachi Mathis</dc:creator>

		<guid isPermaLink="true">https://chachibangbang.com/Lemoyne-Terrazzo</guid>

		<description>

	Lemoyne Terrazzo &#38;nbsp;2023




	

&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/36ccb624f4659b523a737be9739fc0b6df5f10fc95c928a6094aa521e7ce71b9/DSC_3189.JPG" data-mid="220140060" border="0"  src="https://freight.cargo.site/w/1000/i/36ccb624f4659b523a737be9739fc0b6df5f10fc95c928a6094aa521e7ce71b9/DSC_3189.JPG" /&#62;
&#60;img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/6730899b27248206a0e4c4aa5e8b99f712389a18c741d8e589208cd816e721f5/DSC_3104.JPG" data-mid="220140049" border="0"  src="https://freight.cargo.site/w/1000/i/6730899b27248206a0e4c4aa5e8b99f712389a18c741d8e589208cd816e721f5/DSC_3104.JPG" /&#62;
&#60;img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/9c3b55ae48a34b7a4f1ed9a51253a98bee6e02a9e6bc7f08be2dfb4804279ee2/DSC_3151.JPG" data-mid="220140057" border="0"  src="https://freight.cargo.site/w/1000/i/9c3b55ae48a34b7a4f1ed9a51253a98bee6e02a9e6bc7f08be2dfb4804279ee2/DSC_3151.JPG" /&#62;



 

	
Asked by friends Danny and Becca to design and fabricate special countertops as part of their comprehensive house renovation, I decided to play with the traditional Italian technique of Terrazzo. Perched on the side of a steep hill in Echo Park, the house is solely accessible via a long footpath, one of Los Angeles’ infamous Secret Stairs. The unique nature of the site required careful project management, akin to working on a remote cabin.



	
Lemoyne Terrazzo is my first foray into cast-in-place countertops. The open plan living room and kitchen centers around a massive island and parallel countertop. With the client’s aesthetic directions in mind, I experimented with a variety of aggregates and mixtures, featuring river rock foraged from the Big Tujunga Creek, a tributary of the Los Angeles River. 





	


 
 
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The foraged rocks were carefully selected based on pattern, visual interest and the limits of how much rock I could carry. After transporting to the studio, they were sliced into slabs, revealing striking patterns typical of igneous granodiorite and metamorphic gneiss. The slabs were carefully oriented and placed on site, combined with a varied combination of aggregates such as black sand, recycled glass, tumbled marble and crushed basalt.





	





	


	

	

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This project would not have been possible without the coordination, assistance and hard labor of a number of people. The majority of the materials were transported from the street to the site by contractors Highground LA, who also assisted with site prep, casting and cleaning. Nick Rodrigues helped with the casting and finishing, and Danny helped tremedously with prep, grinding and moral support. Becca helped arrange the statement stones, and the design of the counters aligned with the excellent interior and architectural design of Project Room.





	


	

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