Art Meets Science

Play the Game
Play the game!

Blast Calder’s mobiles to a million brightly coloured bits! Instead of being a mere spectator to the play, irony, and humour of the toys in Calder’s Circus, or a spectator to the free play of the motion of Calder’s mobiles, in Calderoids you get to play with his art yourself when you climb in your spaceship and fly around his sculptures, laughing as you zap them to pieces!

Calderoids illustration

Few artists approached the world with as much of a sense of play as the inventor of mobiles: "Alexander Calder chose, aesthetically and morally, to play, to play for keeps at playing the game, because art at the time was a game or it was nothing. That’s how Calder understood it, and that’s how the best minds in that Paris which was a ‘moveable feast’ understood it as well" (Francisco Calvo Serraller, Gravity & Grace, 2004). Calder’s workshop would have found a home in the playland of the early Atari development lab: "Work is a word used very loosely at Atari. Most of the Atari employees I saw projected an aura of almost delirious bliss. They didn't seem to think of themselves as working. This isn't a company, I said to myself, it's a candy factory" (David Owen, Esquire, 1981).

Calder’s first major artwork was the animated Circus, a series of wire automata whose motion delighted and amused avant-garde Paris. Crashes between his abstract Circus forms foresee the cosmic conflagrations of Calderoids: "It was possible to move colored discs across the rectangle, or fluttering pennants, or cones; to make them dance, or even have battles between them. Some of them had large simple majestic movements, others were small and agitated" (Calder, Mobiles, 1937).

With mobiles, Calder plays with the fourth dimension of time: "Just as one can compose colors or forms, so one can compose motions" (Calder, Modern Painting and Sculpture, 1933). In Calderoids the gravity and grace of his mobiles arc through space with the zero-g elegance of Ed Logg’s spaceship: "Asteroids fulfilled the fantasy of being out in space, with no gravity, and free floating. The spaceship had a very elegant grace. A lot of motion in the game had grace, even the way the boulders floated around" (Rich Adam, original Atari programmer, The Atari Library).

Art theory

The same two artists who most influenced the genesis of Calder’s mobiles also provided the same spark in the creation of Calderoids: Piet Mondrian and Joan Miro.

Calder’s first visit to Mondrian’s studio led directly to the invention of mobiles: "Mondrian lived at 26 rue de Depart. It was a very exciting room. Light came in from the left and from the right, and on the solid wall between the windows there were experimental stunts with colored rectangles of cardboard tacked on. I suggested to Mondrian that perhaps it would be fun to make these rectangles oscillate. And he, with a very serious countenance said: ‘It is not necessary, my paintings are already very fast'" (Calder, An Autobiography in Pictures, 1966).

"It was more or less directly as a result of my visit to Piet Mondrian’s studio in 1930, with the sight of all his rectangles of color deployed on the wall, that my first work in the abstract was based on the concept of stellar relationships" (Calder, A Propos of Measuring a Mobile, 1943).


After creating Pac-Mondrian, we were on a mission to create a videogame art mashup for Atari’s greatest selling arcade hit, the space shooter Asteroids. The first artist suggested whose work lent itself to the form of the game was Joan Miro, whose pen and ink ‘Constellation’ series resembled a field of asteroids. Ian Hooper declared Calder’s mobiles filled a far better formal fit, given their fanciful free flight. Creating the first body of sculptures that moved, Calder called his early sculptures ‘Constellations’ after Miro, and presaged their videogame destruction in 'Vertical Constellation with Bomb'. Although Mondrian’s squares provided the initial inspiration, the biomorphic forms in Calder's mobiles were directly influenced by his friend and sometime collaborator Joan Miro. Ian Hooper’s conception of Calderoids mirrors Calder’s own aesthetic merging of Mondrian & Miro in the mobiles. After consuming the brightly coloured squares of Pac-Mondrian, and contemplating Miro’s constellations, the motion and form of Calder’s mobiles led directly to shooting stars in Calderoids.


Similarly, the collaborative development of Calderoids followed that of Asteroids. Atari engineer Lyle Rains thought of shooting rocks that disintegrate into smaller rocks, and Ed Logg spent months designing and perfecting the game. While Ian Hooper first conceived of combining Calder and Asteroids and went on to create the arcade side art and marquee, Mike Horgan designed the complex interaction of the zero-G Asteroids space ship and the physics of an exact model of Calder’s mobiles, achieving a fine balance worthy of the praise original Atari programmer Ed Rotberg had for Logg: "It's an incredibly intense game. The tuning in terms of how fast the spaceship turns and how fast the bullets move and how far they go and how fast the [Cald]eroids can go, just all the tuning that [Mike Horgan] put into that, is real artistry. [Cald]eroids is a video game artistic masterpiece" (Rotberg, The Atari Library).

Calderoids was adapted from source code for the Virtual Calder applet found at Zachary Booth Simpson's home page.

See Webpage:

Donald E. Frith - Modern Ceramic Art

Teapot Exhibition
November 1 - December 31, 2008

Beatrice Wood Center for the Arts
in the Beato Gallery
8560 Ojai-Santa Paula Road,
Ojai, CA

Watch Video - Interview with Donald E. Frith
Watch Video - Interview with Donald E. Frith

Intverview with
Donald E. Frith

Watch Video - On Making a Teapot - Part I
Watch Video - On Making a Teapot - Part I

On Making a Teapot
Part I
Watch Video - On Making a Teapot - Part II
Watch Video - On Making a Teapot - Part II

On Making a Teapot
Part II

Click on images below for a larger view.
Teapots by Donald E. Frith
Teapot 719

Teapot # 719 Glazed porcelain & acrylic
7.5" x 3.5"
Teapot 691

Teapot # 691
Glazed porcelain & acrylic
8" x 4" triangle
Teapot 711 Teapot # 711 Glazed porcelain & acrylic
8" x 4" cube
Teapot 714 Teapot # 714 Glazed porcelain & acrylic
8" x 3.75" square
Teapot 715 Teapot # 715 Glazed porcelain & acrylic
9" x 3.5"
Teapot 720 Teapot # 720 Glazed porcelain & acrylic
8" x 4"
Teapot 700 Teapot # 700 Glazed porcelain, acrylic, redwood burl
8" x 4" triangle
Teapot 716 Teapot # 716 Glazed porcelain & acrylic
8" x 3.5"
Teapot 707 Teapot # 707 Glazed porcelain, acrylic, cherry
10" x 3" d
Teapot 574 Teapot # 574 Glazed porcelain, acrylic, cherry
10" x 2.5"
Teapot 638 Teapot # 638 Glazed porcelain, acrylic, cherry
8" x 2.5"
Teapot 706 Teapot # 706 Glazed porcelain & acrylic
10" x 2"
Teapot 606 Teapot # 606 Glazed porcelain & acrylic
12" x 3.5"
Teapot 545 Teapot # 545 Glazed porcelain & acrylic
12" x 3.5"
Teapot 675 Teapot # 675 Glazed porcelain & acrylic
10" x 2.5"
Teapot 722 Teapot # 722 Glazed porcelain & acrylic
10" x 3.5"
Teapot 723 Teapot # 723 Glazed porcelain, acrylic, cherry
11" x 3" square
Teapot 627 Teapot # 627 Glazed porcelain & acrylic
12" x 2.5"
Teapot 708 Teapot # 708 Glazed porcelain, acrylic, ebony
9" x 2"
Teapot 725 Teapot # 725 Glazed porcelain & acrylic
10" x 2" square

In the Beato Gallery we will be presenting teapots by Donald E. Frith, a retired professor of ceramics who has been working in ceramics for more than sixty years. Look at each of Donald Frith’s works with a carefEntrance to the Beatrice Wood Center for the Artsul eye, and enjoy the combination of technical expertise he uses in porcelain, precious wood, and acrylic, to create a small teapot. Then, go back and look again. And remember, they’re not only incredible works of art, they pour very well!

Beatrice Wood Center for the Arts 8560 Ojai-Santa Paula Road
Ojai, CA

Tel: 805.646.3381 email:

Donald E. Frith : email:

Slideshow of Client Photos


Modern Art Mobiles