The transformation of sound space into image space

Visualised music is the most succinct description of this complex cycle, whose works bear specific pieces of music as titles. Images of selected string quartets from the Viennese Classical  to the late Romantic are created at the moment of listening. In association with the movement of a baton or violin bow, structures are created using carefully selected plants as ‘brushes’, colour sounds are condensed and sound spaces are translated into pictorial spaces.
All this is done gesturally and subjectively, yet after careful consideration and preparation. The selection of plant fragments - leaves, pieces of wood, inflorescences - is based on artistic considerations. They are used to apply ink to canvas, which has to dry, is repeatedly overlaid, time passes. The piece is heard many times, the individual movements condensed into an extract.
The aim is to playfully translate the musical idea into a pictorial one that makes no claim to musicological significance. The intent, a playful transformation of the musical to a pictorial idea, without claim to musicological importance. Already in the sixteenth century Giorgio Vasari described the intentional and sensual breach of the rules in music, art and literature as Capriccio. The imagination takes centre stage, permitting a transgression of academic norms without their lmportance being lost, bowing to artistic willfulness.

While the artist’s character is stamped on each image, they appeal to the beholder to allow his own interpretation.  The associations are multiple, mirroring humanity’s broad spectrum. If nothing remains of the music beyond its title, is it then only “used?” But the drawings are open to question without there being a definitive answer, rather they are the expression of the search for recognizable interdependencies in art.