This project began with a simple still life of various vessels. We were asked to make a drawing from two perspectives (this was one of them).

I then transferred the information from my charcoal drawing back onto the still life itself, from that unique perspective. This time I used acrylic paint. If you walk around the still life, there are unpainted areas. It is only from this point of view that the still life appears entirely painted.

This is a map of my still life. Can you tell what information is being mapped? It is a radial grid which conveys information about the tone of the marks on the still life and the object's nearness to the viewer. To me, it looks vaguely like a radar map or seismographic chart.

This is a measuring device I invented to capture dimensional data from my still life. It is a form of "sounding." A metal rod measures the contour of the still life as a surface along a section cut, giving me the height, which is then recorded in a spreadsheet.

My measurements were used to create a 3-D drawing of the still life in Rhino. You can see some of my process here: points that don't necessarily fall right on the "perfect" objects created in Rhino. The aim here was to make a drawing in Rhino, rather than an idealized model.

Still working in Rhino, I next made a study of the discrepancy present in my drawings. Projecting lines from the drawings through the model allowed me to see where these discrepancies existed.

I made no judgments about those inevitable discrepancies, but instead constructed the solid formed from these lines - a JUNCTION in which these discrepancies meet.