Paul Greenhalgh has described Brian Clarke’s stained glass folding screen Blue Computergram as ‘a complex exercise in pattern generation’ (Paul Greenhalgh in Brian Clarke: The Art of Light, 2020). Greenhalgh continues, describing the colours and patterns as ‘creating the effect of conceptual pointillism perhaps, very much in keeping with much of the artist’s oeuvre in painting. The imagery hangs tantalisingly between the natural and artificial, conveying the feeling of a landscape affected by computerisation.’

This imagery is derived from Clarke’s 1981 eponymous painting series, produced for the Olympus Building in Hamburg. It was a subject he had wished to explore in stained glass but could not at the time as the appropriate technology was not available. Blue Computergram was produced with an innovative technique devoid of lead cames and thus freely interacts with its surroundings as an autonomous sculpture seemingly made of light.

Blue Computergram exists in an edition of 10 unique variants plus 3 artist's proofs, published by HENI.