When Hirsh set out to make his unique form of mathematical art he had several goals in mind: First,he wanted to demonstrate that mathematical systems, properly crafted, could produce a much richer set of artistic images than the hyper-geometric, fractally generated images that typically characterize mathematical art. A crucial element of this first goal was to create textures and abstractions that are as “painterly” as possible. A second goal was to explore as wide a range of mathematical systems as he could, utilizing extensive combinations of the classic elementary functions, differential equations, integral equations, fractal type equations, logical gates and recursion, to continuously broaden the range of images he can create. A third goal was the hybridization of real world images that are seemingly incompatible, e.g. flowers and printers, Dutch windmills and people, cafes and vases of silk flowers. Because the hybridization is part of the complex transformation process it often produces startlingly unexpected results. Finally he had an overarching goal of producing images that are compellingly beautiful while simultaneously exploring the limits of beauty as they relate to mathematically generated hybridizations and transformations. This last goal flows naturally from his love of both gardening and math. He believes that many of the most precious things in our lives are the gifts of beauty bestowed by the natural world, e.g. flowers, trees, butterflies and birds. He tries to explore the limits of that innate beauty using mathematics as his brushes and photographs as his paint. In addition, he seeks to explore the role of beauty in the mathematical transformation of synthetic objects, and, like Picasso in his cubist phase, in the mathematically driven melding of synthetic and organic images. His view is that his mathematically driven image transformations are particularly effective at peeling back the layers of the mundane to reveal fascinating properties of the real world images captured by the raw focus of the camera. He believes that this symbolizes the power of science to show unexpected hidden aspects of the physical world while simultaneously emphasizing the more esoteric, some would say religious or spiritual, idea that virtually all of the totality of existence is beneath the surface of perception and art is one of the best ways to capture that hidden universe in tangible form.