as a guide
I wanted this to be something like the opposite of abstraction . . .
through abstraction, account of the personal experience is lost.
Synaesthesia, like Alexander Scriabin in Keith Jarrett.
Sounds have texture, just as different kinds of raw pigment have their own texture. And colours suggest sounds. I use cold-pressed linseed oil as the vehicle for raw pigment and through this the individual mineral quality & characteristics can be examined and used then to address the subject matter as a flat image - a painting.
through abstraction, account of the personal experience is lost.
Synaesthesia, like Alexander Scriabin in Keith Jarrett.
Sounds have texture, just as different kinds of raw pigment have their own texture. And colours suggest sounds. I use cold-pressed linseed oil as the vehicle for raw pigment and through this the individual mineral quality & characteristics can be examined and used then to address the subject matter as a flat image - a painting.
In response to Henryk Gorecki's "3 Olden Style Pieces" I made these six paintings. They are successful to me in understanding what the music does to my body, please "listen" to them.
Only Artists on radio4 broadcast recently Katie Paterson speaking with David Mitchell, he said something along the lines of her work being glorious metaphor, and all in a positive manner, but she resisted this fervently, saying 'No, the thing is the thing, it's not metaphor'. And I really stood with her on this point, I believe it too. Art can be metaphor but this is perhaps where cliches are born. Like the painter Michael Simpson said, 'When stood before a painting, the first thing you need to see is that it is a painting.'
Where possible, and this usually equates to all cases, I avoid the use of words, 'explore' & 'research'. For me these are both too vague and too specific. They are a substitute that goes beyond compromise. I am interested in reality, and in reality, language as word/text is useful & helpful, but also very limited. We do communication and therefore connection a disservice when all other means, this whole sensual world, is homogenised into one translation.
Where I do begin? . . .
See: Robert Wyatt - Gharbzadegi - Old Rottenhat, 1986, Domino recs.
Where possible, and this usually equates to all cases, I avoid the use of words, 'explore' & 'research'. For me these are both too vague and too specific. They are a substitute that goes beyond compromise. I am interested in reality, and in reality, language as word/text is useful & helpful, but also very limited. We do communication and therefore connection a disservice when all other means, this whole sensual world, is homogenised into one translation.
Where I do begin? . . .
See: Robert Wyatt - Gharbzadegi - Old Rottenhat, 1986, Domino recs.