Two gray gargoyles hung on the white posts of the 1880s-era home, an antique clock mounted on the same. A rusted cast iron stove with a flue that went nowhere afforded the final proof: A maker lived here.
“Maker” is a television term for those who practice the art of steampunk, and Thomas Willeford of Harrisburg is a master. His home serves as headquarters for his business, Brute Force Studios, and his workshop is where all the steampunk magic happens.
Willeford describes steampunk, a term coined by sci-fi writer K. W. Jeter in 1987, as “adventures in a speculative past.”
The novice may better understand steampunk as a clash between the soft, delicate textures of the Victorian era and the hard, industrial steam technology of the same time. Mechanical function is integral to the form, as is the incorporation of futuristic technology and handmade items. It also involves elements of fantasy and dystopian existence, giving it a “Mad Max” vibe.
According to Willeford, each steampunk artist would describe the form differently. Of his style, he said simply, “This is my steampunk.”
Beauty & Function
Growing up in a “big, creepy” Victorian house, and living with his mad scientist grandfather, Willeford was set early on for his current lifestyle. He read Victorian science fiction as a kid, watched the retro-futuristic show “The Wild, Wild West,” and always liked mechanical stuff.
Some of his mechanical creations sit in his living room. One particular item, an old wind up phonograph decked out with fuses, working lights and an antique knife switch reminiscent of a “Frankenstein” movie, hides the house’s electronic devices.
Willeford is most known for his mechanical arms, one of which appeared on the steampunk-themed episode of the ABC drama “Castle.” These arms, a combination of leather, gears and other metal accoutrements, can’t just look good—they must operate. An adapted 1920 grease gun or piston positioned across the elbow allow for movement.
“My art is very technical, beauty is part of the function,” Willeford said.
Arms serve as only part of his collection. He creates riveted, hand-sewn leather corsets, brass leather aviator goggles and clockwork-themed jewelry.
Wanting to share this art form, Willeford has written two how-to steampunk books, “The Steampunk Adventurer’s Guide,” aimed at kids and less technically experienced folks, and “Steampunk Gears, Gadgets and Gizmos,” which is for the more advanced.
His art regularly takes him to Comic Con and similar events, giving him a place to display his expertise. This exposure led to a recent opportunity to act as a judge on the Wednesday night GSN reality show “Steampunk’d.” After years of various production companies contacting Willeford about a possible show, Pink Sneaker Productions committed to the idea last year.
Willeford spent several weeks in Los Angeles during show production. He said he had a positive experience with the producers, for whom he also acted as a steampunk consultant, making sure that the show was true to the steampunk culture and provided the necessary tools and inventory for the makers.
Show contestants teamed up and competed to create a “steampunk’d” room to meet the judges’ theme and technical requirements. These makers then used items out of the “punk yard,” which was filled with typical items you’d find in a well-equipped junkyard, to craft the rooms.
As with all reality TV, there was plenty of drama, but Willeford said it wasn’t made up. Rather, it was the result of passionate artists working with and against other passionate artists in an intense competition.
“You don’t get art without artists,” he quipped.
When asked if it was difficult to send artists home, he responded—nope, no problem. The judging criteria were clear, and it wasn’t personal. However, judging the groups was sometimes like “splitting hairs with a laser” because the artists’ scores were quite close, he said.
The artists surprised him because they could fashion what was being asked of them in such a short period of time.
“They’re told: ‘here’s your instruction, here’s your tools, here’s your time,’” he said.
Each time, he thought to himself, “There’s no way they can make it in time.” But they did, proving just how talented they were.
Would he consider judging another show? Absolutely. Would he consider becoming a contestant on a show?
“I would love to do it, but they might be hauling me away,” he said, due to the long hours, physical demands and emotional exhaustion involved in creating art under such pressure.
Art Mirrors Life
Willeford fashions art under much less arduous conditions.
His shop holds a drill press, eyelet press, bandsaw, laser cutter and daVinci 1.0 3D printer. Looking nothing like the punk yard on the show, his workshop neatly holds gears of all sizes, springs, clock chains, old tools and soft goods like leather and fabric. He purchases this creative inventory at estate sales and flea markets.
“You know you’ve been to the flea market too much when the vendors will give you credit,” he laughed.
Willeford’s life mirrors his art.
In his home, using present-day tools, he brings to life something new from items he digs up from the past. He then appears on the quintessential medium of television on a type of programming that dominates the 21st century—reality TV.
It seems completely possible, through some type of steampunk alchemy or time travel, that he could one day see himself on one of those episodes of “The Wild, Wild West” that he enjoyed as a kid.
For more information on Brute Force Studios, visit www.bruteforceleather.com. You also can visit Thomas Willeford’s public Facebook site.
At more than 6 feet tall, Nicholas Hughes towers over the rest.
