Seen here, just hours before the performance, is the rigorous seating ordinance at the centre of the room and, beyond that, the reproductions. In the foreground, the authors’ coveralls lie still, awaiting critical collaboration. Photograph by Braeden Martel

During set-up, the authors tested their projection from the constructed black box, appropriating both the space and the technologies of the classroom. In the foreground the imposed ordinance on the floor and the chair arrangement were calibrated to the existing ordinance of the room. Photograph by Braeden Martel

The scene of the performance mere moments before it began. While audience members glance around the room, a square of light can be seen beneath the black box housing the authors. Moments later, paint would spill from the box and go largely unnoticed by the audience members, who were instead transfixed by the images on the screen. Photograph by Braeden Martel

In the final moments before the installation performance, one of the authors probes the view from the constructed black box. Photograph by Braeden Martel

In this image the authors are filmed from above applying the blue and red paint to each other. The intimate shared struggle of the authors/performers is here mediated for the audience through the lens of a camera installed on the ceiling. Photograph by Braeden Martel

Having painted each other in binary colours, the authors face each other in front of the historical and contemporary ideal male bodies that have prescribed normative architectural proportions. Photograph by Braeden Martel

The authors each engage with and critique the normative architectural proportions based on the ideal male body. Photograph by Braeden Martel

The performance of inscribing the painted, non-ideal, ideal body on the “standards” engages critique of what is “ideal” and how/why we utilize this notion in the proportions of architecture. Photograph by Braeden Martel

Once the performance is complete and the authors have exited the room, the audience is left to engage with and consider the inscribed installation. Photograph by Braeden Martel

Remaining on the projected live screens are the remnants of the paint utilized by the authors. The audience remained in silent contemplation until the doors to the room were opened. Photograph by Braeden Martel

The augmented “standards” were left on display for the remainder of the evening as people migrated into the room and shared versions of their experiences or other people’s experiences of the one-time performance. Photograph by Braeden Martel

Post-performance, the audience is seen circulating around the room. The remnants of the film from above, the stained, paint-covered floor beneath the black box, are reflected on the audience members, who will soon become the performers. Photograph by Braeden Martel