Hudspith and Zirk set up a video-feedback loop using a projector and digital cameras. As the video cameras record what is before them, the live image is repeated on top of the same space creating a loop. A fraction of a second passes for the loop to come full circle, but within the continuing system marks and movements made create visual feedback stretching on ad infinitum. After applying an initial stroke of paint, the artists need only follow the pattern created by the feedback system to generate the work. Using a multi-camera setup on a timed remote controller, the live projection shifts between perspective points every 60 seconds, producing a new pattern to be inscribed. The artists mixed paint to match combinations produced using colour-suggestion software, which isolates simple colour combinations from any digital image, such as contemporary artworks, classical genre scenes, Instagram food selfies, or in this instance, Pantone’s Color of the Year for 2013 and 2014, Emerald, and Radiant Orchid.  The Pantone Color of the Year is selected far in advance at secret meetings between various nations’ colour standards groups and Pantone executive, and is used as a marketing tool to ‘forecast’ and implement fashion and design trends globally. Both the self-proclaimed authority and arbitrariness of Pantone Colour Matching System and their Color of the Year selection processes lends itself to the nature of the work where sources external to the artists play a key role in the creation of the paintings.  Each step in the process moves the artists further from traditional notions of creative genius. While the artists have been relegated to cogs in the machine, their interaction creates its own art, a dance, mediated by the feedback mechanics. 
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