
Combinations, 1997 Ink on Kozo paper, 44x30 in. (set of 12)Each of the twelve programmatic works in this series present all combinations of four linefigures iterated and 'drawn' by a digital printer onto paper, from a computer file. Mondrian's grids come to mind, with the difference being that Combinations is, in essence, a mathematical array, a depiction of an algorithmic system, and not "Broadway BoogieWoogie." The fact that there is an obvious visual relation between the two is interesting, given the opposite ends of approach taken. Mondrian found his reductivist style through a rigorous analysis of natural form, a love of jazz, and the teeming visual grid that is New York City. In other words, his means were subjective, while his ends came to be a form of geometric representation. In the case of Combinations, the system itself is the means dictating and producing the ends. The artist resides someplace else: programming, choosing colors, paper, output parameters and display. It is this tension between the objective (system) and the subjective (choice) that energizes one's confrontation with the approach and its results. 
