Don’t get me wrong. I do love the immersion into this visual chaos; it's very satisfying on many levels. I hope the text that comes out of this interview can help eliminate some of the concerns and opposing attractions that are flowing through the various designs, collections, and accessory pieces. So I guess there is no place like the beginning to start. So let's just start at the beginning: where were you, what were you doing, and what were you thinking when you started this decade-long project? What were your reasons for starting this work?

I will do my best to sort this out for you so you can have an appreciation for the design work that I feel crisscrosses contemporary aesthetics in both formal and unexpected ways. Personally, it’s difficult to know when the visual confusion should be left on its own. Let it function as it was intended to function. As triggers and as cheese, enticements primed to challenge. Entertain but confound. In particular, the veneer of radical politics that runs through much of this work is playing at entertainment, but difficult none-the-less. I like the model. Abstract versus formalism in clothes. Wearable only as a reference to the high design risk aesthetics. I saw myself working in that vein. Of course, the reality was very different; I wasn't selling anything, and I had no followers. Which was fine. About halfway through we gave a go at at selling. Of course the bags were sellable; I thought they were really terrific, and I do consider them editioned art works.

I see. So there is more to the Palestinian story. Is that right? Is that why the PLO pops up here and there in the graphics and in the editions you produced? Are you suggesting there are messages or missives of media persuasion of some sort, acts of persuasion, buried in this visual arrangement? Directed at someone inside the circles of fashion reception. Is that fair to say? And if it is, then how can we get to the real meat and potatoes of this work as a factor of cultural coding, or whatever you want to call it? Perhaps we’ll move on. Let me get back on track with the storyline.