A machine from aviation, a town full of things worth keeping.

The FP-300 was built for aircraft. Stripping paint and corrosion off airframes is unforgiving work — you cannot warp a panel, you cannot anneal a spar, and you cannot leave chemical residue in a lap joint. The tolerance for damaging the thing you are cleaning is zero.

Which turns out to be exactly what art needs

A patina is a chemical finish an artist chose and a foundry applied. A hand-hewn beam carries the marks of the person who cut it. Handmade adobe cannot be sourced any more at any price. In every one of those cases the requirement is identical to the aviation one: take off what does not belong, touch nothing that does.

Sedona has more of that kind of material per square mile than almost anywhere in the Southwest — eighty-plus galleries, outdoor sculpture gardens holding dozens of bronzes each, landmark buildings from the 1920s, and estates built with materials nobody makes any more. And until now, the nearest laser was two hours south in Phoenix, set up for industrial rust.

Not new to the machine

This is not a business that bought a laser last week. The same operator and the same FP-300 ran as Laser Arkansas from 2024 — aviation panels, industrial corrosion, architectural and graffiti work — before the machine came west. The parameter knowledge on this site was built on test panels, not marketing copy, and some of those panels are on the work page including the ones where the settings were wrong.

What we are, precisely

We are the laser and the operator who runs it. We are not a conservation studio and we do not claim to be — on a signed bronze or a museum accession, treatment decisions belong with a qualified conservator and we are glad to work under one. What we bring is the instrument, the parameter knowledge to use it safely on your substrate, and the discipline to stop where you tell us to stop.

A great deal of valuable work needs no conservator at all: a gallery's outdoor inventory, architectural bronze and ironwork, a smoke-damaged ceiling, a collector car frame. That is most of what we do.

How we would rather work

• Photos and an honest answer before anybody drives anywhere.
• A test patch on your piece before any production work, every time.
• Published rates, so you know before you call whether we are in your range.
• Telling you when laser is the wrong tool — including when that costs us the job.
• Documenting our own work, and never showing you anyone else's.