I started to explore fractals and the Mandelbrot set soon after I read about them in A.K. Dewdney's article in the August, 1985 issue of Scientific American. The concept of infinite recursion is still fascinating to me: The deeper you look, the more complicated the forms become. Philip Brazer approached me with music that he thought would work with my animated sequences. His music sets these fractals in a haunting, floating stasis that I never want to leave.
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