Commencing with caricature and reductive imaging techniques, this research explores parallel tendencies evident within broader culture. The thesis argues this reductive predisposition became broader and more prominent during Modernism, the digital revolution of the 1990s, and is strongly manifest within various aspects of contemporary art and culture. Theorized as the ‘Cult of Reduction’ this tendency is both a cultural condition, and a studio methodology employed to create two dimensional projected animation and digital prints.