The proposed installation may be described as a large wall-like image- structure — a multiplex projection chamber — composed of layers of static and moving abstract graphic patterns. These patterns would be physically separated in shallow space, generating a complicated form of three-dimensional optical imagery. The overall shape of the piece, which is an elongated rectangle, would be equally divided into a symmetrical triptych. Three edited versions of my abstract animated film, Primary Stimulus, the moving component of the installation, would be rear-projected across the back of the multiplex projection chamber and viewed through the three front parts of the piece, each of which contains two layers of static horizontal grating patterns of varying density. The static horizontal grating patterns, which are applied to clear plexiglas panels, are a physical and spatial extension of the light frequencies generated by the film component of the installation. These plexiglas panels, then, are composed of black-and-white horizontal grating patterns which, except for their larger size, are exactly like those used to produce the film’s abstract animated imagery (as well as its graphically originated sound track). As a result, the installation is self-referential, creating a dialog between the physicality of the original static graphic patterns used to make the film and the kinetic luminosity of the projected film itself. This dialog or interaction between static patterns and film projections is the principal expressive vehicle of the piece and is designed to create, in real space, an expanded range of after-image effects and perceptual phenomena.

The architectural setting for the installation, unlike a conventional theater situation, is designed to involve and, in a sense, physically mobilize the viewer. The area in front of the installation, rather than having an arrangement of seats, would be an open gallery space allowing the viewer to move and walk about freely. By this means, his field of vision would be set in motion and changes in perspective would be achieved. Because the graphic matrices in front of the rear-projected films are three-dimensional, the slightest change or shift in visual perimeters would alter the effect of the installation and cause additional rhythms, vibrations and other kinds of optical and kinetic activity depending on the tempo of movement and the angle of vision. The viewer then, instead of passively watching a conventional motion picture presentation which has a distinct and predetermined visual order, could actively participate in the optical realization of the work.

The physical construction of my proposed installation consists primarily of a wall-like structure that contains three 4' high by 5’4” wide graphic matrices, plus three corresponding sound speakers. The wall part of the installation is designed to be quickly and easily made with standard building materials — basically 2 x 4’s clad with gypsum board. The three graphic matrices, which would be built into the wall, are also of simple design and construction. Essentially, each three- dimensional graphic matrix would consist of a layer of polacoat rear-projection material, plus two 1/4-inch plexiglas panels covered with individually designed grating patterns of varying frequencies. The three elements that compose each matrix — the polacoat plus the two plexiglas panels— would be separated by three-inch spaces. The projection hardware for the installation would be standard items consisting of three 16mm motion picture projectors, each equipped with a loop-image making device, a one-inch wide angle lens and external speakers.

The audio component of the installation would emanate simultaneously from the reorganized reels of Primary Stimulus. Individual speakers, one for each reel of film, would be located above each section of the triptych. When the audio tracks are played with the various visual parts of the piece, the combined effect would function as a complicated and synchronous fugue, a dense and contrapuntal structure of different but related sounds and images.

Notes taken from Robert Russett: A retrospective survey, University Art Museum, University of Southwestern Louisiana, 1989.