Channing Hansen (LA, 1972 - ) approaches his knitted compositions with a dedication to process. Chance plays a key factor, beginning with an algorithm that the artist writes, determining stitch, pattern, and color. Skirting, spinning, and dyeing the wool of conservation-bred sheep, texture and tactility is present in the work from the start. Hansen's interest in probability and chance are a nod to his grandfather, Fluxus legend Al Hansen, a Movement whose ideology placed significance on the experience of the artmaking process overall. The process represents a marriage of technology and the natural world to produce vibrant and haptic knit works. In the case of Cell 1-20, chance is reintroduced with the artist's mandated installation method. Turning the installation into a thing of play (based on mathematician John Conway's cellular automaton computer simulation game from 1970, called Life) and leaving the final plan up to an 8-sided die is inherently of a Fluxus mindset, as Hansen emphasizes the modularity of the works, and in turn, the malleability of choice. That's Life.