Exhibited: Los Angeles, U. S. A., 1967 (inscription on the reverse). Provenance: Bruun Rasmussen Auctioneers, Copenhagen, 1970's. Provenance: Private collection, Denmark.

"On many of my exhibitions I have been asked why I use electronics as a material in art. This I can not fully answer, but a couple of explanations I shall be able to give.

When I look upon the way of living today, it would be impossible to overlook electronics, as it is the part of the present the part of the present having developed fastest and having a great influence upon almost everythng. That is why electronics must be examined in relation to the art of painting.

The opinion concerning technical science in the future has divided mankind in two opposite groups. The one group sees an Orwell's 1984, the other sa future with technique as a perfect servant. Many artists work on the problem, most of them from the negative point of view, either with monstrous destructive machines, or they try to hold the monster up to ridicule: Big machine, big noise, little or no result. I only have experienced very few works of art containing the (in my opinion) right impression, that technique is a means, without any will of its own, and that may be used for any purpose, possibly as a part of painting too. We have already accepted technique in other branches of art, f. ex. movies and television, and without asking ourselves questions like how it can be done.

Programming is the part of electrotechnique that interests me mostly, partly because it introduces a new dimension in the art of painting, namely the exact time. It is possible to create a succesion of pre-decided pictures, in the same frame, and without losing the paintings's static way of being. It may be compared with a comic strip, where the single drawings is shown one at a time, and together creating a story".

William Soya in a catalogue from Galerie Hybler, Bredgade 53, Copenhagen, late 1960's. The catalogue is enclosed.