When the Saxons poured out across Britain, though, it was something else. They weren't very nice people. In all of what's now England - south of Scotland, east of Wales - you almost never find a Celtic place name. That's because, when the Saxons looked across the field, there weren't any Britons left for them to ask, "What do you call that river?" So they had to make up their own names for everything.

The Celts who were left ended up in Wales, Scotland, and across the Channel in Brittany. During the seventh century the Saxons tried to keep going north. Up there they found a mixed bag of Picts - who'd been in Britain longer than the Celts - Britons, raiders from over in Ireland, and Scandinavians. The Saxons came up from the south and the fact is that no one knows exactly what happened.

For an entire generation, all written records just... stopped. And at the end of that time things had settled down. The Picts and Britons and the Gaels from Ireland had become more or less one people, who turned out to be the Scots. The Saxons and the Scandinavians had become more or less one people, who turned out to be the English. Right along the Scottish border things were a bit more mixed up. But they weren't all killing each other any more.

And something wonderful finally happened. When you get that many different kinds of people mixing together you see a lot of traditions mingling and brewing up something new. So at the end of this truly awful period of history we see the Germanic and Pictish and Celtic traditions combining, and all of a sudden there's new music, new art, and new poetry. The three-sided frame harp came out of this mess. And so did what we call Celtic knotwork.

That's why, way up above the history, I said that it's not uniquely, or originally, Celtic. This is a style of art that a lot of people paid a high price to create. And once they had, it appeared on everything they made, from stone monuments to jewelry and metalwork to some of the most beautiful books - handmade, illuminated manuscripts - that anyone has ever penned.

In more recent years Celtic Art has cross-pollinated other art form; like in the Celtic Revival, where it was changed and informed by the Arts and Crafts and Art Nouveau styles. I'd place my own work in, I guess, a post-Revival mode - since that Celtic Revival work has certainly influenced mine. 
 

I get a lot of questions about the meaning of this or that design – but that’s simply not what the designs are for, or ever have been for. It's what we want them to be.

We monkeys have a natural tendency to want to assign meaning to things. That's got nothing to do with whether the meanings were there already.

These patterns in their historical form were not symbols, and didn't represent specific ideas.

Anybody who tells you something else is probably trying to sell you something.

Okay, I'm trying to sell you something too. But I'm not trying to sell you a way to think.

My own belief is that if knotwork design embodies an idea at all, it's the idea that that all things are composed of various forms of one substance, or energy, or conciousness, whose sentient elements turn and contort themselves in an effort to see the whole pattern of which they are a part.

Pretty much in the words of those venerable sages, the Grateful Dead:

Wake up to find out that you are the eyes of the world.

Is that true? Nobody knows. Get used to it!