He had long standing working relationships and collaborations with Simon Hilton, Stefania Malmsten, Seamus McGarvey, Susanne Freytag, Carole Morin, Propaganda, New Order, Bryan Adams, Jesus and Mary Chain, Joan Armatrading, Paul Davis, Blacks Club, Ian McCulloch (Echo & the Bunnymen), Tim Soar, Danny Pope, Susheela Raman, WOMAD, The Pogues, Shane MacGowan, Primal Scream, 23 Skidoo, Last Few Days, The Sugarcubes, The Pixies, Tanya Donnelly. In recent years, drawing together experience from photography, filmmaking and graphic design, he began a project called "The Matrix Series", exploring graphic compositions with complex multi-frame narratives. Each piece was shot as a set of images designed to interact in multiple dimensions, combining elements of time, movement, rhythm, narrative and graphic structure, while remaining within an essentially documentary framework. One of the first collectors to acquire a print was fashion designer Paul Smith for his HQ shop in London's Floral Street. In his essay, “Nine Hastings Photographers” Vasileios Kantas proposes that "Andrew Catlin’s imagery formations could be considered as a study on perception. His matrix suggests a unique syntax, of which the visual elements have been formed partly coincidentally - the subject’s actions - and partly in a controllable way - the photographer’s decisions. The way the sub-frames are selected and positioned in the matrix is preconceived, though it does not serve the linearity of time which seems to be loosened, if not abolished. The display of the sub-frames allows different reading strategies, seemingly serving many goals simultaneously." Sean O'Hagan (journalist), photography writer for The Observer, notes "In his Matrix series, he has somehow merged the rigorously formal with the luminously observational. Whereas the likes of Blossfeldt and the Bechers created visual typologies, arranging plants and industrial water towers respectively in grids that echo the natural and man-made sameness of their subjects, Catlin has used the grid format to render a series of what he calls “critical” moments. The resulting images are both formally detached and acutely observational, ordered yet intimate. Their intimacy is amplified by the cumulative power of each arrangement of critical moments into a matrix of observation"..."The Matrix Series explores rhythm, space and time to provide a unique way to see.” elaborates Catlin, “Each is a collection of moments, separately composed but directly connected.”