Driven by dynamics akin to system behaviour, Hassan's works are seeded by an aleatory act of painting, from where raw data is selected as complete, yet disordered information to be reorganised. A juxtaposition of complex and simple elements is staged, alluding to a universe unknown, bringing forward a dimension of ideological independence which suggests an opposition to the notion of self or authorship.

The recursive fluid patterns, used in most of the works, deconstructed and re-assembled, take the particular into universal and back again; the intention is to re-examine abstraction through a formula that goes beyond the mere appearance of abstraction or mimesis, to arrive at a new self referential system, a field that organises itself to describe particles of the absolute.

Traces of philosophy, science and poetry intertwine within each work; like suspended moment within a continuum, the proposition is that every possible combination of elementary particles occurs an infinite number of times, given infinite time.