"For us, the idea of having a work that has contradictions is very important—when, in affirming something, it includes itself and attacks itself. How can you put together all of these things that have nothing to do with each other? You use glue! Glue can be an idea, a word. You can use an ideological glue."
From "Art in the Twenty-First Century" Season 5 (2009)
Allan McCollum’s segment begins with his uncle Jon Gnagy’s 1950s television program "Learn to Draw." Crediting his uncle's demonstrations as an early influence, McCollum says “whenever I design a project it’s in my head…that I would be able to show someone else how to do it.” Describing his aesthetic motivation with the paradox of “wanting to try to work in quantities…and make things that are singular and unique at the same time,” the viewer travels with the artist and his team of studio assistants to the 28th São Paolo Bienal for an installation of 1,800 hand-stenciled, graphite pencil works. McCollum describes devising “a system that would produce a shape for everybody on the planet.” To make "The Shapes Project," the artist developed a set of unique forms that, when fully combined, results in 60 billion individual shapes. McCollum later collaborates with four remote home businesses in Maine, whom he only talked to via email and phone, to produce collections of silhouettes, rubber stamps, wood ornaments, and copper cookie cutters.