Many of these are what I call "Human Algorithm" artworks. I take a simple idea about filling space, adhere to one or two rules, and then design the piece. Concepts such as organic growth, organization, and positive/negative fields are explored. With a bit of human chaos introduced into the design process, the rules become seemingly more complex, and in turn new ones evolve.
There is a Chinese word, Li, which essentially means "principle" or "pattern". It is the word used to describe the markings in jade, or the impressions in sand where water once flowed, for example. It describes the dynamic quality of nature, captured in a snapshot, frozen in form and structure. This has its corollary in the West in evolutionary art, the most notable of which being fractals and fractal geometry. I realized that much of what I had been painting intuitively since 1989 was in fact a mirror of these dynamic processes in nature, like aggregation, vasculum, phyllotaxy, fracture, variegatus, and so on. From a basic rule or idea, iterated through time, flows a complex system or pattern. Ideally, each piece draws the eye around the scene to view the various parts, moment-by-moment, and simultaneously aesthetically pleases as a totality.