SciArt Magazine - All Issues | Page 22

side, and I will literally climb up on a ladder, mix buckets of paint, and heave them onto the paper and just let them dry how they will. AT: Why did you choose to paint on mylar for these? JF: I like its association with architectural presentation drawings. If you go to shows, say, of the architecture department of Museum of Modern Art you’ll see that architects working during the early to middle part of the 20th century used mylar to make their presentation drawings—often, almost at this scale, a big concept drawing of what they’re trying to achieve. It’s a material that allows you to work very wet, because it accepts wet and dry medium— but only reluctantly, and I like the resistance that it provides. Also, I like the transparency of it, because part of this project is to balance the solidity of the detector, which is this hulking machinery, with this ephemeral explosion that’s happening—to equate those two layers. Also, my signature style, which I used for the previous series, involved a lot of transparent layers of acrylic paint. Using mylar gives me a lot of formal possibilities in terms of painting on the front and the back sides, and the ability to do an isolation layer. AT: I read in one of your artist statements that you envisioned the collider as a cathedral, and this made me think of stained-glass windows. JF: Yes, there is that reference. There’ 2F