The Guanxi pseudonym is orchestraed towards 'a sui generi sound' through research, investigation and with a hunger to explore a constructed visual and non-subjective predisposition.

Stimulated by organic performances, which feature natural recordings taken and manipulated to form an exploration of composition – focusing on the difference between natural and digital acoustics. A recreation of natural surroundings, conceptualization of the organic, yet immaterial, impalpably stitched and designed for the non-commercial.

Of late, his artistic work has focused around the investigation of the myriad of errors that can arises when working with analog and digital systems. Common for all of Guanxi's artistic endeavours is a fascination of working on the limits of what is technological possible when finding new sound material. Pushing computers to their limits to obtain an aesthetic that emphasizes the imperfections of modern technology.

Yet, perhaps the sound of a computer crashing is not an expression of error, but rather an expression of an intangible beauty. From these digital short comings a sound universe is created that might be defined as a modern day music concrete, that utilizes the sounds that are a part of our modern everyday lives. They are not physical objects but are very concrete in our daily interaction with technology, and in that sense perhaps a more concrete sound statement for our generation than the sound of a rumbling train.