UV blacklight kinetic wall tapestry, fluorescent hand-painted  mirrored acrylic blades fixed to layered computer fans with vibration dampening and orbital stabilizing hook and loop [Velcro] adheisive connections.

Custom made rotating variable speed 4 point laser plate with half mirror ball fixed to the bottom. Multi-mode light cannon casts a beam of light upon the rotating mirror ball from directly underneath. Mirror ball casts volumetric beams of multi-colored light filling up the space below with the fanned out (persistence of vision) 360 degree rays emitted by the rapidly rotating laser effect spanning the horizontal space above it.

Installed at Luna Nightclub, Appleton, WI. 2013-2015

Fluorescent hand-painted wooden tongue depressors fixed with velcro to a matrix of variable-speed computer fans and illuminated by newly developed custom blacklight LED panels, allowing geometric patterns to appear through rapid rotation.

Table top light sculpture with glass marble matrix screen fixed to an open cigar box with rapidly rotating kinetic USB powered LED ring inside. 3.5" glass sphere fixed to a cholla branch with rusted tin base and hardened desert sand base placed in the foreground.

6] Individual or synchronized variable high-speed four point diode rotating laser plates based on my UV blacklight fluorescent computer fans. Can be scaled up with numerous laser fans to create an arena sized wall tapestry with an assortment of color variations and sizes. Larger centrally fixed rotating white disks can be added for projection mapping. Not yet exhibited in a public setting.

After signing a contract for the development of my blacklight inventions my work with Spencer Gifts involved two distinct product-development projects, each following a different and disappointing path.

After presenting 5 conceptual figures featuring Star Trek characters "beaming up" along with several others and the functional fan concept I  received a lucrative 3 year contract along with standard royalties.

Holographic-like Display:The first product focused on a fluorescent vertically fixed rotating panels that produced holographic-like imagery. The images generated faced the viewer directly head on regardless of where they were standing.

Working alongside with Test Rite International in Taipei, Taiwan, I traveled there three times staying the maximum visa allowed 30 days at a time as the projects progressed from conceptual to engineering, manufacturing, mass production silk screening, and graphics for packaging materials.

My contributions also included mass presentation concepts for both original imagery and proposed licensed properties.

The surviving documented concept work includes the KISS photos shown here.

While original production artwork included subjects such as butterflies, mushrooms, realistic looking marine fish, sports logos, etc... Those products ultimately never reached Spencer Gifts stores. The representive I worked with at Spencers made one poor decision after another. Including an egregious decision to continuously order a test version of the panels consisting of a gradient of multicolored dots.

Functional Household Fan: Separately, I worked on a table top fan made with semi-rigid high-density foam blades. No grill obstruction and safe for kids. More than half of the sales of my hand-painted fans at my gallery where from eager parents looking for a gift for their young children. During that project and the other, I helped develop an automated five-color silk-screen printing process by adapting Lefranc & Bourgeois fluorescent flashe pigments into reliable, high-volume production pieces [Aurora, Roulette, Saturn, Vortex].

I also created numerous production graphics and licensing presentation concepts that where hand painted with a needle. This project involved extensive collaboration with Test Rite's engineering and manufacturing teams in Taiwan and provided first hand experience in large-scale consumer product development.

The fan I presented evolved considerably during its development. The original concept emphasized smooth operation, balanced mechanics, and the integration of fluorescent rotating imagery. As the project progressed, however, the product's direction changed. A more ambitious three-dimensional rotating configuration was adopted, ultimately becoming Vortex, Roulette, and Aurora.

While visually distinctive, the new configurations proved challenges with regard to balance at operating speed, resulting in a product that could become prone to wobble. In my view, the change compromised the performance of what had originally been conceived as durable fan although they did generate desirable 3D optics.

Together, they document a unique period in my career where my work expanded beyond being a kinetic artist into international manufacturing, product engineering, commercial graphics, licensing concepts, and retail product development.

This Kinetic Sculpture was my most difficult to engineer piece serving as a centrally prominent fixture at my eponymous storefront gallery when it debuted on July 4, 1992, at 248 Elizabeth Street in Little Italy, NYC.

At the time I was the building's superintendent and convinced the building's owner to utilize the flag as an attraction to help advertise the vacant storefront that was currently up for rent. It soon became a permanent installation as I then took over the lease the very next day. (2 years later I moved my gallery to 234 Elizabeth, a newly restored storefront with brick walls, and wall to wall street side windows with vertical curtains.)

The neighborhood was highly contrastin and had a lot of vacant storefronts, wandering drifters, and an occasional "social club". I ended up making signs for a couple of them.

My gallery injected a vibrant, high-energy presence into the block, and the glowing, moving flag became a major neighborhood standout. The sculpture was an engineering and hand painted marvel that required nearly two years to design and build, using 25 tightly aligned vertical panels to create a fluid, holographic tapestry.

The flag was constructed out of 25 clear vertical acrylic panels mounted on their axis in a tight, parallel row.

Each of the 25 panels were attached to an aluminum frame with shaft and 25 high-end sleave bearings from at the top and bottom to accommodate each of the rotating clear acrylic panels. An i-beam was centrally fixed along the axis of each panel so they were as rigid as possible. Without the i-beams the Each panel would collide with each other and were belt driven via. pulley and a high-speed, high-quality, VCR loading motor and held in place by 2 silicone dampened yoke/clevises connect to the pulleys via a industrial steel iron grade metal shaft.

When turned on, the vertical blades spun rapidly on their individual axes generating transparent holographic-like imagery. When clear acrylic panels spin past the eye's flicker-fusion threshold, the physical plastic structure completely disappears. Because of its rotational orientation all 50 stars faced the viewer head on.

"The visual data of the American flag was not painted in solid blocks, but entirely applied using Millevolte's signature stippling effect. The entire sculpture featured over 200,000 individually hand-painted fluorescent dots.
The 50 stars together alone were meticulously rendered from over 20,000 hand-painted dots.

All 25 panels spun at slightly different speeds and where cut to slightly different widths to simulate a real textile waving in a staggered mechanical progression by slightly delaying the rotational timing from one column to the next, the persistent of visual trails created an undulating wave. Placed inside a large high-density wood and shock mounted aluminum frame.

The shimmering transparent 5' x 4' kinetic American Flag appeared to seamlessly ripple and float in mid-air. The illusion was so striking that HBO utilized clips of the sculpture for an entire season in an advertising campaign for NHL hockey games. To capture the effect, HBO arranged specialized transportation to move the kinetic sculpture to the rooftop of their midtown Manhattan skyscraper for the commercial shoot".

*I had much better photos but eventually lost all of them. These 2 hard copies and a still photo are all that is left. Notice the blue banner is striped. The blue color is not shown and painted on the other side to further enhance the waving effect. The red stripes appear as a solid painted surface as the camera blurred the micro pointillistic dots together.

Assembled from a discarded wooden veneer TV set, bowling trophy, VCR hubs, VCR loading motors and cassette player mechanisms with fluorescent hand-painted blades fixed to rapidly rotating surfaces.

Nitrovision was constructed in my downtown De Pere, WI. studio ocated above a nightclub called the Limelight I was inloved with designing, two stories above a bowling alley. The studio served as both a workspace where I could create devices for the nightclub below and a place to develop a portfolio for my eventual return to New York City and the opening of my storefront gallery on Elizabeth Street.

The views overlooking the Fox River below were magnificent, but the view inside was even better. A wide assortment of dozens of vintage four-pillar bowling trophies lay scattered across dusty cocktail tables where they had been stored away. To me, they were a virtual gold mine and provided aesthetically pleasing platforms to work with.

The trophy chosen for Nitrovision had a decorative wooden base with shimmering blue metallic pillars. It was positioned above a hollowed-out wooden-veneer television set I had found while traveling in my pickup truck.
To add some kinetic energy to the mix, a couple of friends and I brought the television out to a farm field. I had a crazy idea to have a little fun with it, so we brought along a generator and plugged the TV in.

It still functioned well enough, although only the red tones were visible on the screen. We waited for an annoying advertising commercial to appear and then, from a safe distance, proceeded to fire high-powered hunting rifles at it, blasting the screen with bullets.

We all experienced something most people probably never will. The resulting sparks and emission of gases were brief but satisfying.
And that was the beginning of Nitrovision.

Assembled from a discarded 1938 Philco upright radio cabinet, 3 synchronized clear acrylic rings fixed vertically to pulleys with a timing belt powered by an industrial blower motor with fluorescent hand-painted blades and rotating surfaces.

Decades past as I departed from my UV Blacklight Kinetic Works. Magnetic ballasts had gradually disappeared and so did the fluorescent lights I needed to render the "persistence of vision" geometric patterns inherent to my creations. New LED lights weren't adequate either. Illumination simply rendered a muddy blur of soupy colors. In 2024 I developed a modification that set forth a new path. A mere 5" x 3" ultra-bright UV blacklight LED panel is now capable of illuminating my works in daylight hours with crisp geometric patterns that are magnitudes brighter than the fluorescent tubes from years past. This photo depicts a sculpture in daylight directly placed alongside my motorhome window. 

Modified high-powered UV blackight LED panels, discarded copper wire, leather shoe string wrapping, UV Hand-painted fluorescent "tongue  depressor" blades and found "wiffle bat" sliced rings fixed with velcro to a small grouping of synchronized variable speed controlled micro computer fans, discarded desert and wood framework base with hardened desert sand surrounding the LED transformer and variable speed control module with digital readout.

This is a scanned image from a historical photograph taken from my personal archives. It is one of a very few number of photos I have representing either of my two storefront galleries on Elizabeth St. in New York City.  My first storefront gallery located at 248 Elizabeth St. opened on July 4th 1992. My second storefront gallery located at 234 Elizabeth St. opened in 1994. This image shows the kinetic UV blacklight reactive installation that appeared in the right facing south bay window at 234. 

The arrangement was asembled with four 3" square "muffin" style fans. Each fan was placed diagonally [diamond orientation]. A long 1/16" steel wire rod was fixed to the ceiling and to the prefabricated hole located on the fan's housing allowing it to appear to be suspended in mid air. A second steel rod was attached a wooden platform display space adjacent to the window.  12 volt DC current ran through each rod providing power to the fans. Power was provided by a 12 volt Sears battery charger and variable speed was provided with a ceiling fan motor speed control tapped into the power from the wall then to the charger itself. The variable speed allowed me to tune the paterns to their most desired geomtrical representation. During night time operation the steel rods all but disapppeared. The resulting lumenous transparancies allowed elements in the gallery to pass through them. Unfortunatly I had closed my gallery earlier and the optical phenomenon described does not appear in this image. Illumination was provided by two Altmen 250 watt mercury vaper floor lamps that were placed on the wooden  bay window display platform.

Example answer to the question. Feel free to customize this content with the actual information you want to provide.

Made mostly from an abandoned railroad dust fence. Cast polished iron HOWE [HOME with an upside down M] emblem removed from an abandoned scale on a rundown dilapidated industrial lot. LED puck lights with phone app and remote control.

Modified high-powered UV blacklight LED panels, dicarded bird cage, 50lb test fishing line, VCR loading motor, variable speed control module with digital readout.

Top Anchor: Vaseline Lubricated Dampening Spring: ​At the highest structural point, a steel spring serves as a dynamic shock absorber and vasoline container.

Motor Anchor: Vasoline lubracting connected to looping zip tie. Serves a dynamic shock absorber. continuously lubricates the motor connection, dampening micro-vibrations and eliminating friction wear at the primary pivot point.

​Shock Isolation: High-frequency motor chatter travels up the suspension and is absorbed by the spring coils, protecting the overhead and bottom connectoin point from fatigue.

​2. Suspension Line: Decoupled Power & Load
​Two distinct conduits drop down from the top spring, completely separating structural weight from electrical delivery:

​Mechanical Load: (Black 50 lb Braided Line): Carries 100% of the sculpture's physical weight.

​Electrical Delivery (Filament USB Wire): Ultra-thin, featherweight wire strands stripped from a specialized USB cable feed power to the motor. Their minimal mass reduces stiffness or cable drag, allowing the structure to move without mechanical resistance.

​3. Power Core: Point-Rendered Eccentric Motor
​The heart of the assembly is a direct-drive DC motor equipped with offset eccentric counterweights.

​Direct Kinetic Engine: As the motor spins, the off-center weights generate continuous, high-frequency rotational imbalance.

​Point-Rendered Anchor: Targeted 395nm UV light, the dark suspension lines and wing planes disappear completely day or night—leaving the motor housing as the single visible, glowing "power core" grounding the entire installation.

​Central Track Loop: A primary zip-tie loop anchored directly to the motor acts as a flexible rail.

​Tunable Hinges: Flexible zip ties attached to the wings wrap around this track, serving as durable hinge that can change the static positioning of the wings.

​Variable Geometric Tuning: The wing zip ties can be manually slid upward or inward along the track. Positioned inboard near the motor, the wings produce a rapid, high-frequency flutter; positioned outboard, they generate wide, sweeping wing strokes.

​5. Optical Payload: Dual-State Wing & Mandala Assembly: ​At the outer front extremity, 1/4" outer rear wood blades fastened to the sliding zip ties act as inertial momentum drivers.

​Exertial Flapping Motion: As the motor drives the track, the mass of the wood blades lags behind the vibration, flexing the zip ties back and forth to create an authentic downstroke/upstroke wing beat capable of generating up and down movement, waves, S curves, figure 8s, and cones as the varible speed increases.

​Dual-State Transparency: In daylight, the clear areas of the blades provide glass-like material transparency around the frontal geometric mandala. Under 395nm blacklight in total darkness, the clear surfaces and black rigging vanish entirely, leaving only the glowing, feather-patterned wings and central mandala beating through mid-air with zero visible support.

Tuneable Kinetic Movements: Jitterbird's front fixed "geometric" rotation remains stable during the rearing wings movements at rotation speeds before and after the tuning the Jitterbird experiences slow wobbling at slow speeds. At the highest speeds it becomes extremely chaotic with extreme fatigue and undesired optics and the loss of "persistence of vision".

Conclusion: Multiple distinct modes of kinetic movements derived from a single object.

Discarded construction beacon with rapidly rotating vertical ring of LED lights inside, rusty sardine can base with hardened desert sand.

Discarded tablet screen, USB powered multi-mode LED string lights with remote control, discarded bed spring with copper enamel and desert weathered wood block base.

Discarded tablet screen, white diffuser panel, discarded battery depleted solar torch, multi-mode LED string lights with phone app and remote control, discarded open cigar box. [looks quite convincing on video but my web hosting package only allows photos].

Each bottle is meticulously crafted with two modified radio antennas to provide an even distribution inside generating as much light volume as possible. Individual bottles can be synced to music or via phone app or remote control. Create your own tabletop or back-bar-shelf light show for a spectacular effect. Each bottle comes fixed to a desert weathered wood frame base with hardened desert sand. A spectacular effect for parties, events or holiday celebrations. 

Driven by a frequent "puffs" or continuous air from a small fan or blower rather than a conventional mechanical drive system generates chaotic perpetual motion. Air striking the lightweight scoops around the perimeter keeps the suspended assembly capable of rapidly swinging, twisting, and violently changing orientation and unpredictable direction freely. Four neodymium magnets positioned at the corners of the rotating plate interact with larger stationary magnets placed below it. Carefully selected magnet placement and polarity create changing fields of attraction and repulsion, steering the pendulum without physical contact and continually altering its trajectory. Laser diodes or modules fixed to the moving plate assembly project these movements across the surrounding walls and ceiling generating an endless range of volumetric scribbles. The combined rotation, pendulum motion, twisting, airflow, and interaction produces sweeping fans and irregular vectors that continually evolve rather than following simple repeating mechanical pathways. Not yet exhibited in public. Its coresponding dance and movements are a mathematical impossibility.

Bleached cholla husks and branches, flipped glass vases and candles, USB powered LED lights, rusted tin cap tops and bases with desert hardened sand.

Miniature nightscape in N scale with railroad. Wiring for the lighting utilized an under-table threaded rod buss system that ran the entire length of the layout. This was a winter hobby of mine that I enjoyed in my downtown De Pere, WI studio apartment. I spent a lot more time building structures and lighting them than I did messing around with the trains. In fact the trains were just an excuse to build a lighted city to scale. I saw it as a 3D version of my early nightscape paintings. That doesn't mean that my trackwork wasn't impeccable though.

Hand-painted fluorescent helicopter blades, with a paint roller. The time I talked a helicopter company into creating a blacklight helicopter for Perry Farrell and Lollapalooza.

The idea was to make the helicopter look like a giant dragonfly as it approached the stage to the music from Apocalypse Now. As the helicopter made its way closer to the stage, it was going to hit its search beam and sting "blast" a giant 10ft. dia. mirror ball positioned centrally on stage with its massive beam of light.

Of course, this was nearly madness. The FAA would have needed years to approve such a thing. I suspect Mr. Jablon was simply testing its viability for the future, as he had several stacks of decommissioned helicopter blades on hand.

 

Modified high-powered UV blacklight LED panels, discarded cast metal exit sign housing and base, fluorescent hand-painted fluorescent "tongue  depressor" blades fixed to layered computer fans with vibration dampening and orbital stabilizing hook and loop [Velcro] adheisive connections, synchronized variable speed controlled micro computer fans with discarded desert weathered wood framework, variable speed control module with digital readout.