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Large Hadron Collider #24 (2009). 36” x 84”. Pencil and acrylic on mylar. Image courtesy of the artist. way so that the pigment and the binder separate and create unstable patterns. And all those formal or technical means show up in the two series I’m working on now, one being the Large Hadron Collider and the other being the images of the universe from the Planck Satellite. AT: Could you talk a little bit about how you made your "Large Hadron Collider" paintings? JF: In the "Large Hadron Collider" series, I’m using transparent mylar as the surface support. I’m making a pretty realistic architectural rendering of the Large Hadron Collider (LHC) on the front of the mylar. On the back of the SciArt in America December 2013 mylar, to show through, I’m making a very spontaneous action painting that represents the events the collider is allowing us to see in a very schematic or conceptual way—clearly there isn’t an obvious representation of the Higgs boson or anything else that’s built into these depictions; what they’re showing is just the pure force of the collisions. AT: Did you actually throw the paint? JF: Yeah, I do pretty much throw the paint. Typically the process is first I’ll make the drawing, and then I’ll paint a little bit of the structure, and then I’ll turn it over to the back 21