When two or more sets of parallel lines, concentric circles, or other periodic structures are superimposed, whether by transparency or other means, an orderly set of "fringes" is produced that varies according to the types of structures combined. It occurs whenever two lines cross at an angle of about thirty degrees or less: in perception they break at the intersection, widening the smaller angles so that the continuity of both lines is broken. At the same time, if the angle is small enough, it's apex clots with black, much as if two wet ink lines had bled into each other. What take place seems to be a tiny instance of optical mixture. Gerard Oster, investigator of moire patterns, calls attention to the conspicuousness of these intersections: "the lines appear pinched as though two wires had been twisted around each other. Evidently the eye is unable to resolve the intersection. When many parallel lines cross, as in the case of two overlapping grids, the eye unconsciously searches the field and ties together these preferred points of intersection". ~ W.C.Seitz in “the Responsive Eye” ~

Whatever theory of evolution, death, resurrection, or reincarnation of painting you subscribe to, one thing is plain to anyone who bothers to take a closer look: painting is trying to get out of itself, to spring into the more travelled zones of the semiotic spectrum. Ironically, one of the most intriguing ways ... to accomplish this escape act is not to abandon the format of a two-dimensional support hung on a wall, but rather to subvert it while embracing it. In order to avoid the Euclidian confines of linear perspective and the equal limiting high modernist delusion of flatness, the artists in - Post Hypnotic - choose to create a space situated neither through the canvas nor on its surface, but one that projects outward into the viewer's realm. This screen based thinking, practiced intuitively by the first two generations of image makers for whom televisions and computers are not mere inventions, but the tangible apparitions which convey experience.

...both Op and screen-seeing really begins with stained glass windows - illuminated from outside, from behind, offering not the reflection of light, but light itself. These geometric arrangements of variously hued glass fragments are the true progenitors of pixels on a computer screen. ~ Barry Blinderman in “Post-Hypnotic” ~