“I am amazed at what goes on in the tiny, fleeting world of drops. I marvel at their
diversity and simplicity, and thrill in their beauty. I strive to share that wonder
Fluids in motion fascinate me. I see the curves as smooth and effortless, the forms
reflecting a perfect balance of dynamic forces. They can tickle some faint physical
memory, just as a scent can evoke a forgotten mix of feelings. Like clouds in the
sky, they are three-dimensional inkblot tests.
Liquid Sculptures are drops. Sometimes they collide with other drops or splashes,
other times into a pool or onto a dry surface. To orchestrate a collision, I arrange
the drops in their starting positions, release them at the right times, and let nature
take its course.
What you see are high-resolution photographs of the resulting collisions, captured
with high-speed flash photography (pioneered and popularized by Dr. Harold Edgerton).
They have not been substantively altered or enhanced. I use Photoshop to clean up
the background, balance the color and tidy up a bit. I don’t alter the shape or composition.
What you see is what nature provided. (One exception: the lips in “Big Wet One Red”
were crying for red lipstick, which Photoshop provided.)
I create the range of shapes by varying the sizes, speeds, and positions of the drops,
and by controlling the timing of the launches and the flash. The physical properties
of the liquids, of course, play a critical role. I change the color, viscosity and
surface tension of the liquids with dye, glycerin and soap. ” Martin