The Annina Nosei Gallery, New York CIty, NY solo show February to March 2004 My work is not a representation of a particular narrative or subject. In my painting, I involve an initial randomness by spilling paint on the surface to develop a discrete system of fragments. By interconnecting these fragments of information, layering paint with more control, a complexity becomes manifest on surfaces. We see this in life; simple rules and variations of order generate remarkable complexity. Random mutations of DNA produce biological diversity, a bridge over a river creates a megalopolis, a star collapses and a galaxy begins to spiral. I intend my work to remain as a solid entity – an ephemeral system of creation and destruction, a record of a momentum in presentation and erasure. By physically representing the notion of displacement, I push the concept of a scattered sense of time in each individual painting by moving repetitive colors and shapes in the gallery space from wall to wall. The complexity that emerges from the repetition is not unlike the Game of Life. The computer program, Game of Life, consists of a grid and colored cells with simple rules for movement on the grid. When set in motion, the complexity of its structure involves a visual, esthetic intuition to perceive that the program is elegant. The game is an example of cellular automata (CA). Today, CA are being used to simulate leaf growth and ice crystal variation, to program military robots to simulate conscious decision making, and the formation and movement of possible galaxies. My show - Biomorphic Automata represents my balancing between seriousness and play, a new kind of visual science fiction that reproduces itself by perception, and regenerates through analysis.