The creative process for QWERTY was a long and particular one. I started with an investigation of landscapes. I started being inspired by the aerial view of farmer's fields. While working on the sketches, I stumbled across a tattered, old copy of Future Shock written by the sociologist Alvin Toffler. As I read through the pages, something radically changed in my investigation: I moved the sketches around, the fields became more complex, Chaos erupted from the landscapes. Impossible cityscapes came forth out of the farm fields, imploding and exploding simultaneously. 

I longed for a change but at the same time to keep working on what I had initially wanted to create. Reflecting on this, I realised that heritage and history pull us, humans, to tradition, while the future pushes us forward. We are caught between tradition and the future.

The title also is reminiscent of this dualism. The typewriter was designed in a way to stop the letter bars from mashing together when typing. We don't use typewriters anymore. But we still use the same layout. 

This painting was digitally remixed twice. See version one, Qwerty Typer, and version two, YTREWQ.