Today's robot is Problem Man, a sculpture I made like six months ago.
I know that a lot of you are thinking, "this is bullshit, I have walked by this robot like four-to-eight times over the course of the last six months, it was sitting in that alcove in the library into which they occasionally shove art. Oh, and wasn't there another smaller, cuter, wheeled robot that sat next to Problem Man? Also that one sculpture of a woman unzipping her entire body down the line of symmetry that had all those brightly colored things coming out from the hollow inside was better."
Listen: You're right on all three accounts. This was an easy day for me, because all I had to do was photograph the damn thing, and it's not the most remarkable of robots, and
yes I did make a little wheeled cute robot with big eyes that got
destroyed because too many dumbshit students touched and fiddled with and dropped it. I don't know what kind of rearing these mouth-breathing, hideously-well-funded, school-logo-sweatpants-wearing fuckroasts had, but for whatever reason they never learned about not touching artwork on display.
Christ.ANYWAY
, here:


So as to avoid making this whole day a complete cop-out I unearthed some concept sketches I did of Problem Man before I even started building it. YOU'RE WELCOME.


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by Mo Martin
Legs, legs he barely missed at all. The old robots, the auto-workers, the computer chip installers, the assembly line fathers, they weren't even built with legs, just bases. So who cares if his legs rusted off? The initial corroding of his arms - piecemeal, a finger tip there, a patch of bicep - that, that had alarmed him at first, but it was easy to accept after a while. The numerous indignities of the loss of his ability to function and move without his limbs he took in stride, he made an attempt at a cheerful descent into rust and tin flakes and plastic.
But when his neck joints transitioned from "sluggish" to "immobile" he grew morose. In front of his permanently downcast eyes, he trudged up the data of the scene in The Wizard of Oz where the Tin Man, paralyzed, begs for an oil can. Over and over, against the wind, he'd play Jack Hickory's high, desperate falsetto. Until one day, his chest board finally crumbled, exposing the boards that made his memory and his senses. And the wind was so cold, and full of sand, and water.