Making design, especially formal compositions such as the work which is a starting point for this project, is of course a simpler, quicker process thanks to intelligent computer programs. Essentially, you can make work as quickly as you can imagine it, and continue to build with the effects you find pleasing on screen. These 'effects' often differ from the 'reality' of what would happen should they be printed, or if one had started the process with raw media.

There are also limitations in manipulating this transparency laden work for animation and projection purposes, which will have a large bearing on my outcomes - often to capture what I have made I resort to taking screen shots with 35mm transparency film, yet ultimately I would like to force those images back onto digital projection.

The old analogue guard and the new digital set still seem strangely polarised, as if one won't talk to the other, yet they are both working to achieve the same results. The reasons for the work presented here are many [apart from the influence of the man in the title], although it seems almost trite to explain them.

Pattern and form can seem effortless, yet also seem to hold truth for so many. For one, I was interested in the idea that cultures and religion that had barred 'images' expressed and adorned themselves with vigorous pattern, a mathematical drive for perfection. Yet there's always that small loop somewhere that's out of place which reveals a human hand, a human error.