The conceptual framework for these mutated artworks is provided by slipstream fiction, which trades in "the familiar strange or the strange familiar" via "epistemological and ontological questionings about reality" . Evolutionarily speaking, each of us perceives our own distinct individual realities and is indelibly influenced by those shared with us. While invented truths are often deployed broadly for the purposes of oppression, disinformation campaigns, and mass manipulation, this series embraces the ever-changing concept of truth itself. Each hybridized artwork in the series toys with and dwells in the murky territories of consciousness. Additive and subtractive in their construction, these transmutations embody a self-organizing logic.
SLIPSTREAM artworks begin as graphite drawings on paper, launching a long odyssey of production. The drawings are torn into pieces and then reconfigured into bespoke sculptural configurations. Echoing recombinant DNA, each sculptural installation represents an iterative version of the one before. Documented as 3D objects, they are altered, lit, and animated using CG software. Once composited, they exist as discrete, looped videos. A final step returns them to paper—forever altered—as archival prints, in triptychs, which isolate sequential dramatic moments in their respective animations. These artworks gesture towards the organic, as simulated fictions of botanical forms. Each offers a familiar referent with no natural analogue.
 Kelly, James Patrick, Kessel, John (2006). Feeling Very Strange, xi,xiii. Tachyon Publications. ISBN 978-1-892391-35-x