The following information should interest you to no end. For the following reasons :

  • My work was noticed by François Morellet. He did me the honor of asking me my first mobile for his personal collection.
  • The School of Physics and Chemistry of Paris studied as thesis, and under the patronage of its Director, Etienne GUYON, some of my random movements. They were helpful to the reflections that excite scientific minds on the relationship between order and disorder.
  • Finally, I will try to present you the simple steps of my exploration of the fascinating world of random movements. I invite you and a trip to the heart of the creative research in kinetic art.

If you only read a few lines, read at least those of the following pages. You should not regret it.

Everything starts with an exhibition of TINGUELY. I am fascinated by one of his kinetic sculptures whose motor rotates around an axis O OA crank which is suspended the rod AB and BC rod, the C of the latter being free , as if she was used to nothing. These two rods move mostly in area O, D, E. Or sometimes randomly, AB and BC rods make a full turn around the center O. The regular rotation of the OA ray randomly generated on AB and BC unpredictable event: instead of tossed in the ODE zone C leaves the area and makes a complete revolution around O. What happens then is exceptional . Mechanically determined by its monotonous logic flip-flop in what is characteristic of life itself: unpredictable!

Transmutation of regular, mechanical, random, alive, fascinates me!

I study this phenomenon and finally create personal constructions that generate unpredictable movements.

With TINGUELY I know when two rods are freely arranged one under the other, and they are stirred by a crank which rotates regularly, the device may transform the regular movement of the crank in a random motion of the connecting rods .

The challenge now is to place this device into a personal construction.

First, I choose a mobile of the type created by CALDER, but with rods that rotate around their axis, and which follow from top to bottom, as, for example:


But then, what kind of agitator animate the rods?

I can not copy Calder and use him as wind or drafts. You have to find something else I have not far to seek: I choose as an agitator motor that turns a crank ..

It should finally that the turning movement, regularity and predictability of the stirrer has the effect of movements irregular and unpredictable construction.

By a mystery at the heart of the creative miracle, by intuition alone, without any mechanical education, from simple to complex, from failure to success, I managed to create mobile animated by random movements.

And here is the drama ! Random movements of this construct do not produce interesting visual effect! And yet some of its elements have an almost organic vitality! But they are not perceived as actors in a remarkable show.

Once again, the solution results from an application of the principle of inversion: if what is seen was no longer with the exception of parts of it? I decide to eliminate the visual field the wholesale construction. By painting the noi r and by coloring parts of it so that, by themselves , are visible when they are illuminated with black light .


And so it was that through the application of inversion (stupidly too unknown) was offered to me the royal road of random movements and black light. A beautiful adventure begins. She will generate another as exciting: the invention of the "Drawing Device". I explain in the following.

Please read on, the journey to the heart of creativity continues...





REMINDER: all construction is invisible in black light, with the exception of its two colored motifs.

The surface of revolution colorful motifs 1 and 2 for interdependent centers A and B , but also C , plus D and even E .

Furthermore, and very random, it happens that the balance which depends F imposes a rotation of D around the center E ... which shifts the centers A , B and  C ... and connecting rods which depend on them.

Thus, the surface of revolution of the mobile elements of the construction, and therefore its two colored elements, is vast, and the show, infinitely varied designs.

The scientific paradox of my mobiles

Their movements are remarkable in principle, when a mechanical agitated regularly racing, it is still packed . Now, as those of TINGUELY, mine revved and ran randomly. The School of Physics and Chemistry of Paris sought to know why and articles in scientific journals have reported their findings.

Another feature: The emergence of booms that are settled randomly has a fantastic expressive force.

Here occurs an event that shows that in some circumstances it is very easy, if not a major innovation.



And if the end of the process was the beginning ... (known air!)

Look good a my first device (mobile).


Like before, I developed my first animations in a plane.

So, what question is one obliged to ask when curiosity is to go explore? In this case, to go further, that is the plan.

We want to create animations that move in space.

Hence, a new universe to explore and new exciting experiences. Follow the guide ! Without anxiety for the final stage it would not have been discovered.


Initially, so we have a building whose members move on to the plane parallel to the base that supports this construction. We speculated as to how to create the plan in space?

By suspending the movable end of an "arm" which leaves the bottom here at point " C  " arm " AC  " A simple mechanical placed behind the bottom agitated that arm, so " C ", by giving it a movement back and forth from left to right.


I now have a new type of agitator appropriate to the aim pursued.

I hang a mobile in " C ".

But then, if all axes of the mobile rods are parallel, the movement of the mobile elements move in one plane. That is not preferable, to conquer space, consecutive axes need not be parallel .

It is a new mechanical, original, non-mechanical, somehow, I work towards the device evolving not only in space but also in transforming the regular movements of the agitator " C  " in irregular and unpredictable movements . Needless to say it is even more difficult to obtain random movements than move in space in the plan.

In the example shown, the mechanical clearly shows that there are 3 reasons families of each of 2 elements. Each of the elements "parents" synchronize with each other, and each family is tracking with the other family ... in the space.


Here is the image of the building of the device "space" at rest.

When construction is invisible, you only see its colorful components.


Imagine the spectacle offered by these elements when playing in a totally random way, sometimes quietly, sometimes frantically, moving towards or away from each other, going to the viewer or fleeing ... .. These space games fascinate the spectator. You will see with the video that will soon be made available.

And now, a new phase complete! If we consider that the end of an adventure can be the beginning of another, provided we find the answer, the right one. This extends research possibilities, in short, when you consider all development ends at the beginning . To find out the answer to which parts were changed  to provide fluid movements with the invention of the Drawing Device, read on...

At first I was very satisfied. But now, the sight of my mobile is like music. It is likely sequentially . He fled as soon as it appears. I had the urge to keep track in a work pictorial ! Ah, these permanent dissatisfied! I "ruminated" my duty without desire to find a solution.

Meanwhile, for some reason, he came back to my mind the thought that for centuries, we invented various musical instruments including mechanics is very simple, such as the flute, which is only a whistle blowing in a tube with holes that one mouths to get notes. So why, important question, did we not invent an instrument to draw before the computer came to fruition?

Derived from the first issue: Was it possible with the mechanics of the 19th century to invent an instrument that draws the basic elements of drawing, line, circle, oval, large and small, and allows us to make graphic compositions with these shapes in the same way we write music by organizing its basic elements, the notes!

The answer was derived by the careful observation of the agitator, my first random mobile.