Giraud views the computer art process as a "form of pure graphic expression.
I personally am fascinated by its seemingly direct link with the unconscious mind.
I've noticed that, after a while, you start using the computerized tools like a sleepwalker. You travel half-consciously through its infinite and incredibly flexible range of forms and colors for hours and hours, without an actual pen, brush, or a tube of paint. You can enter an unbelievably complex domain, where you can break a picture, take it apart, change it, put it back together, start it all over. Computers make artistic expression and the expression of the unconscious mind one and the same thing. A true artist doesn't become warped or lost because of this infinity of possibilities, because he learns to recognize, to feel the moment when his true oeuvre has emerged and is there."
As much as he enjoys using computers, Giraud is not about to throw away his brushes and Bristol board.
"There are still some forms of pleasure derived from putting a pen to paper that you can't yet get from working on a computer."
Giraud will surely derive some pleasure from making the film version of The Airtight Garage; but it has also become a matter of spiritual survival. Of his prior experience with the film industry, Giraud says, "I discovered that people who make movies regard filmmaking almost as a matter of life and death. They feel they're going to die if they don't make their films. I am starting to understand that."
http://www.wired.com/wired/archive/2.01/moebius.htmlhttp://en.wikipedia.org/wiki/File:Arzach.jpg
