Unlike the massive form and matter of built-up objects any geometric tessellation uses what a design school professor of mine opined on as ‘impossible shapes.’ I was to realize the inexorable constraint upon what’s actually possible to manufacture or otherwise fabricate in encounters later on with error warnings in CAD software against zero-thickness geometry. In wrangling with the effete sophistry of CAD to consummate the primal urge to mix coloured matter and apply it to ostensibly flat surfaces I’ve been burrowing further into the mentalism of an imaginal zero-g atmosphere. The sticky, enduring facticity of coloured matter has been supplanted by the artifice and metaphor of GUIs with the properties of paint seeming more inessential in consideration of gravity’s absence in the imaginal zero-g processual substrate of digital creation tools, glowing signifiers of utility which simultaneously frustrate and fascinate in their respective dimensions of complexity and stochasticity. The art-making becomes a complex endeavor with sought-after outcomes being placed unusually often beyond reach, necessitating multiple interations of getting it wrong until I stumble across a geometric composition or colour process which feels like the appropriate thing, imparting meaning via synaethetic codex where form and colour give rise to emotion in the way of poetry and rhythym articulating the definition of feeling in song-writing.