Artist Aided Design

In Artist Aided Design, a technician meticulously reads out a series of x-y cartesian coordinates that result in a final, unrevealed, image being drawn by two artists simultaneously interpreting these spoken coordinates into a visual artwork.
Unlike its computerised counterpart CAD (Computer Aided Design), AAD allows for the expression of an artist to emerge through the image’s creation, but inherent in this creation are the errors and misunderstandings that can take place between the technician and the artist.
What seems at first to be a straight forward set of instructions becomes increasingly difficult. While computers are easily able to handle hundreds of mundane and repetitive instructions from its human users, the artists carrying out the performance work unwittingly become fatigued, begin to miss instructions, try to catch up, fall short, yet in this confusion an image slowly emerges for the audience.
Created for a group exhibition at FRAC, Piedmont, Italy in 2011. Artist Aided Design was created as a response to an artwork (19. Single line labyrinths, 2003) from the permanent collection by Ignacio Uriarte which dealt with repetitive actions carried out in the workplace every day, such as stapling, filling out exel forms etc.
Having been an architect I was interested in dealing with the virtual space of CAD (Computer Aided Design) and how architects and drawing technicians have become so accustomed to these programs after years of use, that the endless copy, pasting, deleting, scaling and manipulation of lines in digital space are taken for-granted. Without these software programs and hardware computer interfaces almost everything built in the last 20 years would not exist. Yet as incredible as this technology is, it lacks the ability for the user of the software to impart their own aesthetic identity into the drawing being created.
AAD is a way to test-bed the idea of having a model taken from the digital sphere, using pure coordinates to create images, and the subjectivity of an artist to create an artistic facsimile.
2012, Group Show – A MAZE Interact. WITS Art Museum (WAM), Johannesburg, South Africa.[Website link]
Performers: Anthea Moys, Molemo Moiloa, Eduardo Cachucho
Image drawn: Intel 4004, the first commercial microprocessor.

2011, Group Show – FRAC, Piedmont, Italy.
Performers: Özgür Demirci, Elmas Deniz, Eduardo Cachucho
Image: The Artline 200 ink marker pen. A classic architect’s drawing tool.

Special Thanks:
Performers -Özgür Demirci and Elmas Deniz
Video -Raphael Franco
UNESCO Aschberg Bursaries for Artists
Cittadelarte – Fondazione Pistoletto
FRAC – Piedmonte, Biella

Performance/Installation Details:
Duration – 30min
Materials -Cotton Paper, Ink, Pen, Digital Print, Table, Chair
Size -Variable

Nicoletta Daldanise:
“Automatic writing weaves curious connections with our psyche and is able to reveal issues
difficult to grasp rationally. The performance by Eduardo Cachucho put an unexpected third term of comparison into the dialogue between “writer” and “reader”. A person from the table dictates instructions on how to draw the design to an artist that mechanically performs for the audience, standing between it and the person who designed the work. Issues typical of the contemporary scene such as the debate about the authorship of an art work, the dialogue with the space and the margin for interpretation of the original project at the time of its practical realization run together with the artist’s architectural background. Artist Aided Drafting (AAD), in fact, comes from Computer Aided Drafting (CAD), a well-known design software, able to perform the instructions of the designer through a similar coordinate system automatically, but in this case the uncertainty of the human element opens the process to unpredictable outcomes.”