George Rickey is best known for what he called his “useless machines.” Carefully crafted kinetic sculptures made of reflective stainless steel, these graceful, precisely calibrated sculptures move with the wind at unpredictable intervals, calling attention to the effects of wind, light, and the changing surroundings.
Born in South Bend, Indiana, in 1907, Rickey was the son of an engineer with a degree from MIT and the grandson of a clockmaker. Both encouraged Rickey’s early interest in engineering and tinkering, which he largely abandoned to pursue the study of art and work as a painter.
Two Lines Oblique is one of Rickey’s most refined explorations of balance, grace, and the quiet drama of motion. Rising from a slender, Y-shaped stainless-steel support, the sculpture holds two long, tapering blades that pivot on precisely engineered bearings. Though made of rigid metal, these blades respond to the faintest movement of air, gliding, rotating, or gently oscillating in slow, deliberate arcs. Their motion is independent yet visually intertwined, creating ever-changing relationships of angle, distance, and shadow. As light glances off the polished surfaces and the blades shift position, the sculpture seems to register the atmosphere itself, making wind and space visible. Despite its minimal form, Two Lines Oblique feels surprisingly alive, an elegant demonstration of Rickey’s ability to translate technical mastery, aerodynamic sensitivity, and a deep sense of compositional restraint into a serene, kinetic choreography.
Marissa Del Re Gallery, NY
Private collection, Mamaroneck, NY, acquired from the above
