Sprawling against the expansive bright blue background of Brian Clarke’s stained glass folding screen ‘Blue Computergram’ (G2-12, 2017) is a sea of small geometric elements. In what art historian and curator Paul Greenhalgh calls a “complex exercise in pattern generation”, these basic forms coloured in yellow and various shades of red are juxtaposed against each other in infinite combinations, instantly reminding viewers of the cult videogame Tetris or more recent joystick controls. Despite its references to gaming culture, however, this work’s title seems to suggest an obscure kind of communication in which symbols are transformed into a cryptographic language, open to countless interpretations. Indeed, the imagery is derived from Clarke’s 1981 painting series ‘Blue Computergram', produced for the Olympus Building in Hamburg.