I have posted these two related drawings before, but I have been thinking about them recently while trying to clarify my research practice. They were made twenty years ago and in making them I knew what I was discussing but could not discuss it. Through the subsequent work I can now articulate what they are about, and understand the importance of making work like this in the broader frame of things. There is a set of drawings that forms and antecedent to these, but if I look at what I am doing now it stems from these two drawings.
Here is the reverse view of Instrument Eight. The instruments are built out of aluminium this time, which makes them much more robust. You might notice quite a few differences on the front side from the previous instruments.
The Institute for Paradoxical Shadows took a bit of a hit in our return across the Atlantic. The buckling of the frames is quite pleasing, though, a little like the photographs of twisted electricity pylons after ice storms.
A paint throwing view of Instrument Seven. The drawing pieces are hidden behind the paint catapult in this view
Some more of the lesser throws of paint form the Instrument Five drawings and another image of the instrument as a reminder
I don’t think I have posted this photograph before (either). It is of Instrument Five in one of the last drawing sessions. The paint catapults are quite accurate (more so than anticipated when designing and making them) but in this case the paint mostly falls short of the drawing pieces it is aimed at. The figure fo the flying paint is still quite intriguing, and a reminder of the uncertainty inherent in the process. The colour of the flying paint is simply due to including (unmixed) portions of white and orange latex paint in the catapult cup. Although I fabricated almost every part of the instruments, I used kitchen measuring spoons for the catapult with a hemispherical cups. The catapults were designed for disposable plastic spoons so that I could change them quickly between throws for colour changes, but their cup shape did not produce very concentrated throws.
I don’t think I have posted this photograph before – it is the final high speed flash photograph from Instrument Five, a wider view than most of the flying paint pictures. The instrument with the paint catapult that makes the throw is off to the left. The flying paint in this image is quite feint, but can be seen as a diagonal line entering the drawing pieces from the top left.
The stereoscopic view of the submarine interior above is very similar to the one that revealed the possibility of making paradoxical shadows that float in mid air – the earlier version was a portrait frame but these are landscape and have a sharper floating shadow. Go cross-eyed so that similar elements int he photographs register with each other and then relax until the full three dimensional image resolves itself. Then look just below the periscope handle for the floating shadow.
The top image is of Instrument Six that makes such floating shadows, both photographically and in real time (as shown here, working with candles for a light source).