O n a sunny Sunday afternoon in early autumn of 1972, I visited the annual San Francisco Art Festival. A jazz band was playing improvised music that carried on the breeze. I entered a dark tent that was filled with moving and scintillating dots of red laser light, diffracted by a primitive holographic diffraction grating. Outside again, blinking in the bright sunshine, I found that the random event of visiting an art festival had become a vehicle for a conscious choice. I knew that if I re-entered the tent, it would change the direction of my life. I discovered two strong aesthetic motivations that day: laser light and holography. The festival's background jazz music formed a third motivation. With the addition of my interest in glass, these elements were to become my primary artistic preoccupations for the next 20 years. Their exploration led in a straight, if somewhat complicated, line to the development of my holographic compositions, which include reflection-hologram composites and transmission-hologram sculptures. Reflection-hologram composites are arranged compositions of multiple reflection holograms on glass plates. I usually originate the holograms by creating laser-viewable holographic masters, often derived from original sculpture and artwork. After mastering, I transfer the holographic images as image-plane reflection holograms, which are viewable in white light. Occasionally, I include Denisyuk and off-axis reflection holograms for the special effects these types of holograms provide to the overall composition. The reflection holograms are designed, arranged and mounted together to compose the completed art pieces. The finished reflection-hologram composites are designed to present an integrated picture that tells a story. The flow of three-dimensional (3D) imagery from hologram to hologram is created for maximum interplay between images, varying dimensions, parallax and deep space. Through the use of exotic color arrangement, juxtaposition and repetition of imagery, I attempt to create visual rhythm patterns, textures and lines that are akin to those found in musical composition. On paper, it is easy to make a 20-year leap from my introduction to the early holographic media to their current applications in my artwork; however, the actual journey from fragments of ideas to completed holograms was a long process, filled with almost as many disappointments and setbacks as realized artworks. The process of developing as an artist who counts holography as a medium was filled with many aesthetic divergences, public 'services' and 'subroutines'. I will enumerate some of these events in my life, as