What size are the original artworks, and what are the various processes and materials involved in making them?
Simon: We continue to work in analog and digital formats. There's a strong crossover between the two, for example using light. So the imagery has been generated by way of mark making, photography, mechanical and digital reproduction or what you might call ‘drawing’. Most of the paintings were about a metre by metre and a half, the typewriter pieces are all on A4 paper.
Is there a special typewriter that’s used to create the artwork?
Simon: The Silver Reed Silverette portable. I've used a few but like this one, it's very basic.
How is the imagery related to the visuals used in the live shows?
Simon: The live show features new songs with earlier Underworld classics woven in, so the visuals have a slightly different role to play than they might have with an album sleeve. I've created a suite of elements that can be called up when needed. The overlap between new and older material is interesting, it can give the sound and visuals a different context. But applying the new visuals wouldn't work everywhere. Underworld already have a fantastic light show and dedicated AV team in place so the new material is there to support that. The live show has affected how I think about directing the band's music videos. How, and if, I can bring visual elements and action from the live performance onto the screen. We're also talking about a live generative and sound reactive strand that might appear later in the year, it's in development.