Built from a highly granular grid of short connecting line segments. Its starting point is Vera Molnár's series Interruptions (begun in the late 1960s), one of the foundational works of generative art, in which a regular field of line segments is disturbed by controlled randomness so that order and disorder hold each other in tension. Sediment takes up Molnár's grid and adds one rule: when neighbouring segments touch, they form a group, and each group is assigned a shared colour from a predefined palette. These colour-bound groups are what the plotter draws, and they accumulate as strata, in the geological sense: one group laid down over another, so that the flat surface is in fact a sequence of layers. The plotter itself is an unpredictable mechanical device: as it draws, it introduces its own texture of aberrations such as slight slips, pressure variations, and pens wearing out, that no part of the algorithm specifies. This unpredictability returns an organic quality to the image, loosening the exactness of the grid into something closer to a natural surface.

Built from a highly granular grid of short connecting line segments. Its starting point is Vera Molnár's series Interruptions (begun in the late 1960s), one of the foundational works of generative art, in which a regular field of line segments is disturbed by controlled randomness so that order and disorder hold each other in tension. Sediment takes up Molnár's grid and adds one rule: when neighbouring segments touch, they form a group, and each group is assigned a shared colour from a predefined palette. These colour-bound groups are what the plotter draws, and they accumulate as strata, in the geological sense: one group laid down over another, so that the flat surface is in fact a sequence of layers. The plotter itself is an unpredictable mechanical device: as it draws, it introduces its own texture of aberrations such as slight slips, pressure variations, and pens wearing out, that no part of the algorithm specifies. This unpredictability returns an organic quality to the image, loosening the exactness of the grid into something closer to a natural surface.