What happens when an Albrecht Dürer masterpiece meets CNC? Watch the video above to see. The work of Pittsburgh-based Pablo Garcia, who does collaborative, trans-media work and teaches at Carnegie Mellon, the project nods both to art history and the world of robotics – and it’s just one of Garcia’s works to do so.
In which twelve drawings of historical drawing machines are drawn by a computer numerical controlled machine.
The CNC machine draws each drawing in ink on Stonehenge artist’s paper. Edition of four.
“Dürer’s Door”, Albrecht Dürer, 1525
Machine for Orthographic Projection, Hans Lencker, 1571
“Perspectograph” (Perspective Device), Baldassare Lanci, 1583
Projection Device, Ludovico Cigoli, 1600-13
Pantograph, Christoph Scheiner, 1608
Portable “Picture Box” Camera Obscura, Sir Robert Hooke, 1694
Machine for Anamorphosis, Jacob Leupold, 1713
Perspectograph, Johann Heinrich Lambert, 1752
Camera Lucida, William Hyde Wollaston, 1803
Profile Machine, Carl Augustus Schmalcalder, 1806
“A verie easie way to describe a Towne or Castle being within the full sight thereof”, John Bate, 1634
Drum Plotter “560″, Calcomp Technology, Inc. 1959
Technical Assistance: Madeline Gannon
Support Provided by: The Ferguson Jacobs Prize
While it lacks digital motion, another work makes whimsical use of drawing, history, and perspective. “Windows,” installed at Pittsburgh’s terrific installation space Mattress Factory, ought still to inspire those working with projection and illusion.
I think my favorite of his works to draw on the legacy of Dürer and the like is his “Profilograph.” It turns two-dimensional illustration into motion via three-dimensional kinetic sculpture, rendering movement… well, you should really just watch. Here, Albrecht Dürer is set in motion:
Installation at the University of Michigan Architecture Gallery. Content (c) Pablo Garcia.
More on Pablo’s work, with lots of works – even t-shirts: