This is a composite of various sketches and processes I have worked with recently. The starting point came, for the first time, from a painting I made earlier in the year which makes up the back left area of the animation. From that starting point I simply allowed the animation to develop as necessary to the composition, in that respect it is as intuitive a composition as it could be under the slow process it went through. There was an underlying desire to represent more 'organic' elements within the animation but not a complete break from a geometric digital style.
The sound was worked on independently of the animation. This is a continuation of my work with field recording of Japanese Temple Bells, this particular piece is a composition made up from the resonances produced directly after the bells are struck. According to Eliane Radigue this is where the 'play' is and for a period I enjoyed the fact that although the sound stems from bells made in the 8th - 17th Century, the resonance is such that it could almost be electronic. The recordings also contain the incidental sound of the surrounding enviroment, children, birds, rain, trees, crickets, as well as the chanting of monks themselves. It's representational and organic and in direct contrast to the abstract and obviously digital mark-making of the animation, this pulls the interpretation of the composition towards something organic but alien or exotic.