In [Full Circle (formerly Ring Modulation)], there’s a paradoxical struggle: trying to sculpt physical material into a circle and simultaneously trying to form a circle electronically with non-physical material – waveforms. It’s impossible to do. I did it as a kind of alchemical ritual, trying to change this “material”. In this light, the copper coating of the welding rod took on other meanings in relation to the phosphorus green of the oscilloscope. When copper rusts it turns green. … The installation Mesh, which I worked on during the same period, had similar concerns – trying to merge physical material and concepts into some sort of unifying tactile resonance. (Hill in Furlong 2000: 192)

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