I'm still motivated by the same joy that I felt as a child when I would write
10 PRINT FARTS
20 GOTO 10
and the screen would fill with FARTS. It's a short command leading to much larger results. It's a kind of joke, taking a simple premise and extrapolating from it to the absurd. Like custard that goes beep when you punch it.

I multiply these simple elements together to form intricate possibility spaces. Shaping not a particular plotter drawing, concrete poem, tweet or visual, but the shape of all possible outputs. I love making that shape wider and wilder, layering in more details to be discovered. It's a process of discovery as much as it is creation. I make the work to learn if it can be made, and discover what it'll feel like when it does exist. Sometimes this means I have to work quickly: I have to accumulate complexity faster than I can get tired of it.

But I'm not just interested in creating a complex system in the abstract - I care just as much as much how it is experienced. So sometimes the work takes the form of a tool or a toy, handing the controls over to a player so that they can discover things for themself. And sometimes the work is the samples I select from the system, pulling out a stretch of text or an image to be plotted that can illuminate the system.

As I guide the player or viewer through understanding the system, they construct a shadow version of it in their head. It's that internal model that I ultimately care about. I want to put off easy understanding of the system, to prolong the experience of putting together how it works - dripping out details and complications slowly, taking advantage of happy coincidences, allowing the ugly if it allows a wilder beauty.