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While these images dont need strong inputs from outside the computer, the mechanised projection nevertheless became an extension of the artists ego and body. Uglars analogue pictures derived from this methodology, however, follow another route. The compositional and constructional skeletons, which originate mostly from the display surface of the computer (thus most of the images have the same horizontal scale as a monitor), go through an inverse process, as they are being projected onto their physical medium by the artist, his consciousness and his automatic gestures.
The system of encrypted Latin letters is re-anthropomorphised in this work by a fusion of figurativeness and abstraction. The connections reach a new subatomic level in the body of the new paintings, as Uglar unites the infinite aesthetics of cellular automata and fractals through a covalent bond with the neo-constructivist concrete poetry of his text-architecture.