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  tags: abstract musical painting, visual music, abstract music, musical painting, musical art, art music, symphonic painting, visual music theory, visual music composition. paintings of music |
These
works are examples of visual music. The method of construction is to
build a linear 'score' on the surface and then allow these lines and
their intersections to govern the spaces in between the lines using a
number of rules to establish and manipulate that space by creating
visual
hierarchies, employing the use of motif and repetition, transparency,
and developing the idea of creating a dynamic flow. All forms are
derived from the interaction of lines based on the thought that sound
is composed of movement and waves. The line is the 'direct sound' and
the shading and highlighting is the responce or eccho of that
sound moving through and effecting the space around it. This linear score is developed in a way like automatic writing in that I begin to draw on the surface in a very loose, intuitive way and let the image develop one line over the next. Later begins an editing process as I decide which lines deserve to become the dominate theme of the work and look for the over all positive and negative spaces suggested. After this, through a system of highlighting and shading, the spaces between the lines are developed into forms and lines that seem inconsequential are eliminated. The idea of variations on a theme is often used where a number of related or repeated markings are developed in such a way as to create unexpected progressions and transformations of the linear structure into forms and spaces. This allows for a development of three dimensional space in the painting, The idea of enjoying these works is based on the fact that most of what we see is out of focus until our focal point arrives at it. Our understanding of an image is based not only on an immediate 'thumb nail' grasp of the image as a whole, but more importantly, on the acquisition of the image in our mind by the accumulation of thousands of focalized experiences as our eye moves about the image. This movement of the focal point then becomes a central consern in the design of the work. This is similar to the idea that we can see a page of text all at once, but we have to scan across each individual line with our focal point in order to actually read it. Thus we experience a painting, not in a single moment as we at first assume, but across time. These paintings seek to exploit that time by directing the eye of the viewer around the painting, leading to a multitude of music like experiences intended for the eye to explore and analyze. TAGS: visual poetry, visual music, music painting, asemic writing, fluxus, synesthesia art, noise, sound, electronic, microsound, computer, music and visual art, symphonic painting, sound and image, musical imagery |