Ultra Fractal 5.02, plus a slight simplification in Painter 11. The 20th Century saw the development of our artistic understanding of the psychology of colour and form – of the interaction between reality and interpretation; and Victor Vasarely, as one of the father-figures of Optical Art, did work with a lasting influence. Through him and like-minded artists we have learnt to distrust our senses, to study how we are being worked or manipulated. Some artists - and Josef Albers is an extreme example - concentrated on colour relationships using the simplest of pictorial means. Others such as Frank Stella, or Kenneth Noland portrayed complex but deliberate colour relationships whilst generally holding to simple or repetitious shapes. Yet others (and Bridget Riley and Victor Vasarely are the best known exponents) pre-eminently used shape to bewilder the senses. Their images became dynamic and viewing is a lively experience. In the past I’ve tried to develop some of Riley’s ideas within a fractal framework (though most of these have been deleted from the gallery – I’ll try to correct that to a slight extent). Her works have an immediate effect on your senses. They often, and at their best, have a pulsating dynamism which makes a mockery of the usual perceptive stillness which holds the viewer. Vasarely is different. The geometrical precision is self evident. All seems quiet and perceptively obvious but nothing is as it seems. Contemplate one of his pictures for a few moments and it will suddenly bite – befuddle. My image acts similarly, so for those unfamiliar with Vasarely I suggest you zoom the picture to (if nothing else) reduce the “clutter”. Then simply look and wait. Let the image have its way with you. It will suddenly transmute and the new image so dominant you’ll wonder how it could have been seen otherwise. Then it will switch again, and always with you struggling to control. My picture differs significantly in one respect from any by Vasarely. The presence of the window grounds it in a known reality and makes the visual switch more threatening but this I’ll leave for you to discover. Incidentally, that window took eight layers to create in UF, and needed some care to ensure a reasonable alignment with the surrounding “wall.” Enjoy! Cliff.