Motion enters into other works, such as Gachot’s Scrapman, 1999, who, while resembling the tin man from The Wizard of Oz, projects a thinness and fragility that seems to comment on the vulnerability of the human condition and its potential fragmentation. This unicycle-riding figure is a bionic entity. His head is an upside-down our sifter, his metal torso a honeycombed air-conditioner part, and the rest of his anatomy an assembly of surplus metal pieces (hence “scrap”). A bell and horn announce his presence, balanced like an acrobatic performer on a single-wheeled vehicle adapted from a discarded bicycle. Like Calder, Gachot uses his engineering skill to fabricate pieces held together by screws, bolts, and similar metal connectors; energized with gears, pulleys, and chains; and hand-activated to provide an acrobatic performance. Turn a crank on Scrapman’s left side, and he peddles while balancing a stick in his arms, like a circus tightrope walker’s balancing pole. Another crank, on his head, rings a bell.

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— Franklin Hill Perrell, from "Richard Gachot: An American Original"