The idea first came about when, in frustration, I gestured across a panel I was working on and left a finger painted mark behind. Immediately, this felt like a natural way for me to paint, a natural way for me to explore the noise of the material. I wanted to focus on the gestural marks and I chose to limit the colour palette to contrasting orange and blue plus white. Somehow, a limited number of compass drawn black lines found their way into the composition (a side-effect of something else I was working on at the time). I worked two panels side-by-side and the BINARY NOISE diptych was the outcome.