Yet Another Drawing Machine
Instructions
When a system is subject to a particular disturbance, it can see its set-up
change. If at the end of the perturbation the system returns to its initial condition, the system is called stable.
When, on the contrary, it definitively moves away from the initial conditions, it is called an unstable system.
YADM is a fragile system, composed of heterogeneous elements that inexorably record the influence on them of a force as invisible as real, the wind.
Materials
– twine or thread
– drawing clip
– paper and cardboard- wire
– pencils et similia
– objects of your choice for personalization
– attach the drawing clips to the four corners of a card- cut four wires of equal length and tie them at one end together with a drawing clip
– Attach the other end of each wire to a clip on the card to form a pyramid.
– apply a sheet of paper to the card using the clips
– cut four more wires at will
– tie one end of each wire to the clips on the card
– fix objects at the other end as desired according to weight, to favour oscillation, or sails, to favour motion
– attach a sheet of paper to the card using the clips previously positioned
– cut four pieces of wire of variable length
– fasten the pencils at one end
– attach a clip at each other’s ends
– secure the wire to the plane or tie rods with the clip
– Shape the thread so that the pencils are closer to the surface of the cardboard
– suspend the structure in favour of the currents
Bio
Patrick Tabarelli (Verona, Italy – 1979)
My research focuses on the mechanisms of image creation and perception. My works are always open to a sort of perceptive uncertainty and investigate the relationship between cause and effect, absence and presence. I often work in series, following precise rules regarding the work and the chromatic composition of the palette. I am used to build tools that allow me to obtain minimal and dynamic oscillations sometimes produced by interference, the surfaces are as flat as possible, their rendering is almost digital and is able to evade my gestures.
For about two years I have been channelling my conceptual processes into algorithms, executed by drawing machines, which generate pictorial surfaces, putting further distance between the work and the author both in the executive and generative phases.
