Instrument Four is a departure and is a test bed for instruments Five and Seven. The previous drawing instruments projected light. In terms of working with uncertainty and indeterminacy the physics of light was too predictable and too much under my control. Instrument Four projects paint rather than light. There are two instruments that talk to each other, rather than the monologue of the previous instruments. I will explain the ideas more fully when discussing instrument Five, but the paint hits a series of objects and through that collision splatters onto the picture plane. Instead of a figurative shadow it is a shadow of the play between the action of the paint on the drawing pieces.
Of all the instruments they are the least elegant as objects as I tried to find the measure of the new material i was working with.
They did, however, provide enough encouragement that such a form of projection could provide a means of making indeterminate drawings and more importantly, an indeterminate relationship with the instrument.
The drawing pieces are the white plastic pieces sitting above the picture plane. I will explain them further when showing Instrument Five.
The test drawing (above) shows one of the key problems with instrument four (and five). The folding picture plane is behind the drawing pieces so that the subtle splatters from the thrown paint hitting the drawing pieces are obliterated by the main thrust of the flying paint. At this stage the paint is standard interior house paint. In subsequent drawings it is thickened with acrylic thickening gel.
Instrument Four is very much a test – the benefits reveal themselves in the subsequent instruments.