"A night sky fills with light shimmers and flecks, surface markings, heavenly bodies. It's an ocean, a well, a screen, a mirror, a portal. Blackness/void cluttered by growing ephemera. Dark reaches of outer and inner space gradually sifts through shards of granite and diamonds. The mind races as the material becomes greater and more frenetic, reaching a nearly audibly grinding pitch of excitement, flurry, and instantaneous infinity that ebbs at first and then maintains. Flashes of color emerge or are imagined. Chaotic flickering of dancing peasant girls and violently twisting astronaut helmets. Layers of sea slime over undulating life forms. Bonfires and celebration. Explosions, construction. Holocausts. Primordial ooze, modern civilization. Ages and seconds. Floating heads circle kaleidoscopic bursts of shiny beads. Everything everywhere twists, forces through, transforms into, overlaps everything else. Seashells, snow, jewels, static, planets, mitochondria, trash, leaves. Rings, flowers, stars, hair, ghosts, comets, cartoons, demons. Icebubblesinstrumentscats marblestwigsfireflie spinwheelsinsectscraters. Buzzing. Reeling#..flfkkkkk ########################## ########################################################################### #Overkill. Birth/ Death. Moment by moment, symmetrical-organized like geometry, like Muslim rugs, like math."
- JT Rogstad, The International Exposition (TIE)

"Tying into and playing against the rich history of hand-painted films, the first Trypp starts off with lulling rhythms of interstellar undulations. But instead of referencing the romantic traditions of most cameraless films, as the impasto grows denser this Trypp turns into a fugue state inducing flurry of op art kineticism. The screen becomes a snowglobe of activity to scramble your eye's rods into cones."
- Chris Stults, Viennale 2009