For the past 15 years, Seattle-based artist Bliss Kolb has crafted intricate wooden automata—mechanical animal figures connected to pulleys and gears that allow them to move. Despite working quietly and producing about 25 pieces, Kolb recently gained widespread attention after singer and talk-show host Kelly Clarkson highlighted one of his creations online.
The wooden bird named Molly, which Kolb designed, was initially displayed in a Brooklyn store called Art of Play, priced at $15,000. After Clarkson shared her frustration on social media about being denied the chance to purchase Molly despite the price tag, the store responded by dramatically increasing Molly’s price to $15 million. Attempts to obtain comments from both Art of Play representatives and Clarkson’s team were unsuccessful.
Kolb, 70, explained that each automaton like Molly takes nearly a year to make, reflecting the complexity and craftsmanship involved. Prior to this exposure, most of his automata—shaped as butterflies, chickens, and other creatures—were valued between $4,000 and $15,000. While the materials themselves cost only a few hundred dollars, he said the value lies in the labor and artistry. Presently, Kolb is not accepting new orders as he aims to reduce his commitments but remains open to future opportunities.
The recent attention has generated a surge of interest, with Kolb receiving around 100 commission requests since the viral post. “I’ve wanted for people to know about my work for decades,” he noted, expressing appreciation for Clarkson’s endorsement.
Kolb’s work contrasts with larger commercial animatronics, such as those at Stew Leonard’s, a grocery chain known for its animated displays. Stew Leonard Jr., the 72-year-old company head, said while no one has requested his store’s mechanical characters—including dancing avocados and singing milk crates—he would be willing to create one for Clarkson at a more modest $15,000 price point. The grocer employs two full-time staff members to build and maintain approximately 200 electric-powered animatronics across eight locations in the northeastern United States, some costing as much as $75,000 for a group of five.
The fascination with moving objects spans centuries, with earlier examples including elaborate mechanized clocks favored by 18th-century French aristocrats and the Kit Kat Klock from the Great Depression era, known for its moving tail and eyes. More recent innovations include Disney’s “It’s a Small World” ride mechanisms.
Industry experts emphasize that the appeal of such moving figures often depends on their ability to evoke emotional connections. Richard C. Levy, co-developer of the Furby toy that gained popularity in the 1990s and was recently reissued, described them as potential “best friends.” The Furby, initially sold for about $30, is now part of London’s Victoria and Albert Museum collection, highlighting its cultural significance.
Richard Maddocks, a former director of animatronics at Hasbro who helped bring Furby and the FurReal Friends line to market, said success depends on whether a moving toy feels realistically interactive. Maddocks referenced the Furby’s memorable design choice to omit an on-off switch to maintain lifelike behavior. Joe Pelletieri, creator of the Big Mouth Billy Bass singing fish, similarly recalled how programming the head and tail movements transformed a simple wobbling fish into a popular novelty item.
Together, these examples illustrate the enduring allure of mechanical figures that blur the line between inanimate objects and lifelike companions, a tradition that Kolb’s detailed wooden automata now continue to inspire.