For their contribution to the 1995 Venice Biennale, at which they represented Switzerland, Fischli/Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses into daily life in Zürich: a mountain sunrise, a restaurant chef in his kitchen, sanitation workers, a bicycle race, and so on.
[2] In an early review of Colson’s 1988 “Accidental Non-Un-Intentionalism” exhibition at Angles Gallery, Brian Butler wrote in New Art Examiner, “The main feeling these works project is one of investigation, not completion.
Elliptical as they are, his pieces often seem to scrutinize the conflict between the active center and deserted margins of industrialized society.”[3] Throughout the 1990s and onward the scale of Winters’ work and its visual complexity has grown considerably.
Continuing to take from the natural sciences and information systems, amongst other subject matters, the construction of his compositions has transitioned from occupied fields to plaited grids and networks that offer unpredictable images.
In his studio, Hawkinson explains how he used gears, switches, nozzles, buckets, and pie tins to build a drumming machine that captures random drips of rain, amplifies them, and organizes them into music.