Contrary to the visual strategies of most of the people producing in this field, that are but a mere repetition of what is produced elsewhere under the password "creativity", I try to explore the visual-textual possibilities immanent to the medium without ignoring the attitudes elaborated in the non-computer-arts. What I strive for, is an attitude, a retention mabe, for no one can talk of "control" or "ability" any more nowadays, although the others do it more colourfully, more figuratively on those inviting things - do it better, in short. That's what they may, every computer show exhibits it.

My linguistic-visual interests tend to collide with a "difficult alighted-ness" with reduced geometric graphisms in order to reach configurations stabilizing and destabilizing themselves more and more, living from their relationship to a colorized, sense-stricken environment.
The limitations immanent to the screen, the high degree of abstraction and the immateriality of its microrhythmically disappearing semi-images enhance that notion of Art, that is expressed in the tape "Stationary Imagination" which now belongs to the collection of the Centre George Pompidou.

Minimal architectural sketches conjure a pulsating, straightforward and rigorous a-topic space, that needs only to be filled with short circuits, collisions of predatory particles or other terrestrically floating logos to come to life.
And that is always made in order to keep the imagination stable in its bifurkation. (R. Ganahl)