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The exposition is continued to
include vibrations and interferences which occur in waves of two logically different
types.
In the first type of wave, the actual physical wave of water, its very properties
of fluidity are employed in the representation of it. (Although Hayter did not
include this type of wave in the suggestions he gave for drawing experiments,
it is apt here and can be elucidated by his own painting and etching techniques.)
Thus the wave's fluidity can be employed in the systematic dropping of colour
on the picture plane, in the throwing of ink at a surface or at an etching and
its subsequent development according to laws of dispersal. The splattered curves
are a result of the arm' s free trajectory thus combibing the free throwing
with the curves considered in their development below: for many etchings, 'flowmaster'
was used which has the property of disolving partially in the acid thus creating
a richness of lines according to how thickly or delicately they were first laid
down. This technique was employed most spectularly by his collegues in America.
.XVI. POISSON ROUGE (GOLDFISH),
S.W. Hayter
1957, 337 x 466 mm, by, "Flowmaster" on zinc. 'The Renaissance
Of Gravure, The Art Of S.W. Hayter', P.M.S. Hacker, Clarendon Press.Oxford, 1988, fig.58
The second type - the mathematically
constructed wave, whose interferences and vibrational patterns are presented, interfering
with each other, enhancing and substracting, give rise to complex curves not seen in the
individual waves but arising from their superimposition. The observer himself becomes a
contributing source, seing in their complexity other images emerging.
The exposition continues with a consideration of waves mathematically as sine waves -
regular oscillations - repeated in layers and diminishing amplitude and diminishing
frequency. Commencing with the simplest sine waves repeated horizontally, which gives the
spectator a sense of rolling, through their distortions in frequency and phase creating
torsion, to their superimposition which provokes a sense of their vibrating, to their
vertiginous plunging into concavity and out into convexity which are given by
computer-drawn representations. These all involve the spectator's participation, gently at
first, then more complexly and to the vertigo induced by the computer drawings.
Curves (vertical-horizontal repetition)
Superimposition of curved systems with vertical-horizontal, diagonal-rotational repetition
Competing perspective systems (Burin Experiment)
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