What I ultimately wanted to do with these sound recordings was make a vibrating moving image or an illusion of such.I have shown in order ,the 3 stages for me to create my final image.The idea was that I would load the cut out sound pattern with a colour and imprint it onto the page and keep doing that until it faded like an echo or resonance/vibration/reverberation.Then I would repeat this with another colour and do this in a circular pattern echoing the curtain ring shape I started with and the idea of full circle a continual circular motion.I left gaps between the imprints so I could go back in with a second layer( picture2) .I wasn't wholly happy with the colour and imprints balance so I went in with afew more marks until I was happy with the final piece.The colours remind me of the bright colours in GuntherForg's untitled acrylic.I hope I achieved some movement that Kandinsky was so good at achieving in his curve and in Bridget Riley's twisted curve in single reverse 1979.Ms Riley has the amazing genius of being able to translate the written word into a visual language, for me breath is a true and apt example of this and you feel the picture inhaling and exhaling as you stare at it.I hope that ,even in a small way,you can feel my picture vibrate infront of you.
If I had more time I would have loved to take the whole idea of movement a step further.What about a"movement"in music.When I listen to a movement in music and close my eyes I see ot with colour and form like in a moving painting.My idea would have been to rehearse ie sketch and work out the palette for a piece of music and then ,with prepared palette play the music and paint the piece and I would have recorded it and the entailed movements .Each time I would do it,the result would be slightly different which would be interesting in and of itself so you could produce a seies of movements or take different sectios each yime ,there is loads that could be done with it.The piece I would pick is " Dark night of the soul" by Norwegian composer Ola Gjeilo composed in 2010.The reason behind this is because I've performed it afew times with my choir so am acquainted with it.Its an incredible feat of a piece ,the timing signatures are so numerous and varied the only way you can sing this piece is by feeling the beat,the vibration in your body so it comes from deep inside you where I would hope the visual imagery would also rise from within.In doing so I would hope to realise a piece in some way similar to Kandinsky's composition ,full of colour,movement and potential .
Sonia Delauney Electric prisms 1913,Robert Delauney Rythme number 1 ,1938.In my research on the Op artist Riley I came across a movement which really influenced her called Orphism a strand of which was simultanism based on Chevreul's phenomenon of simultaneous contrast where neighbouring colours exert effects on each other.The main exponents were the Delauneys who attempted to create rhythm ,movement and depth through overlapping concentric contrasting and complementary colours.These combinations were likened to notes coming together to form musical chords. I was astounded when I came across this as I was using concentric complementary colours to create vibrations just like them but I didn't know this theory or movement existed I had just been struck by Riley's work after seeing it in the Tate last summer.
