This sixty-centimetre-high construction combines the functions of a lamp, a clock and a thermometer and evokes the anachronistic technology and antique feel of steampunk.

When switched on, the top part imitates an incandescent sphere with its orangey light, while its perforated bottom part emits yellowish and sporadically greenish light.

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As the artist himself said, he has always had a special fascination with old wrecks, like sunken ships and old engines. This spine-chilling creature is an exciting example of his unconventional affection. Carrion’s appearance arouses fear and displays power, while also allowing us to get a glimpse into the reality of decay, passing and the slow death of metal. The sculpture was almost exclusively constructed from rusty parts, and the artist himself applied a rusty coat on the rest of the components using a special layer of rust powder and matte varnish.
 
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This steampunk clock, which can be put on a table and mounted on the wall too, is a compelling manifestation of the sculptor’s fascination with machines, pipe, springs, cogwheels and mechanical constructions. It was constructed from HVAC tubes and pipes, a pressure gauge, pipe junctions, a hairdryer propeller, chain plates and machine-tool parts, while the numbers were made of aluminium sheet.
 
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This “mechanical fish” was inspired by a car part with embossed numbers and is the reincarnation of an exhaust muffler. It was made of iron and steel and its varnished silvery body creates a wet effect. Its body has about seventy nails: thirty in its mouth and the rest in its fins and tail.

The tail also contains bicycle and car parts, including a chain, a sprocket wheel, an inner cable, valves and a centre weight, while the artist used a stationery holder for the mesh part. Feje két oldalán eA V-belt with three pulleys can be seen on each side of the fish’s head.
 
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This rocket constructed from a hairdryer, a carburettor, a bicycle lamp and a percolator is driven by an ’alien’ composed of two small valve caps a bicycle outer cable and ball bearings. The body of the rocket was given a rust powder coat in parts, and the soot on its surface was made using an airbrush pistol.
 
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This stunning work opens up the fascinating world of robotics with a network of cogwheels, springs, suspension systems and intertwining tubes that exude beauty and, characteristically for sculptures like this, all-pervading power.

The basis of Raptor was a car’s steering gear, connected to which are swinging arms, ball joints, telescopes and other components. The foot of the sculpture alone contains more than two hundred parts, and the artist used a total of more than one thousand parts used to make this one-and-a-half-meter-high and fifty-kilogramme artwork. Similarly to his other sculptures, the joining was done without welding. Every element was secured with screws and every single component is joined to another in a customised way.

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This extraordinary work, as described by the artist, is the cut-off trophy head of a “half human and half machine” from a post-apocalyptic world. The fifteen-kilogramme head full of cracks is intertwined with more than ten metres of pipe and other components include a clutch disc, a xenon transformer, a drill a flex (angle grinder) and various machine parts.

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The basis for this thirty-five-kilogramme “torn-off robotic arm” – which could be regarded as “booty” or a “trophy” too – was provided by the row of cogwheels from a scrapped Suzuki gearshift the artist found in a garage. Its massive harmony is created by its five-centimetre long claws, six spikes on its palm, five metres of pipe, four telescopes, a turbo and six hundred or so machine parts.
 
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