The music for this project was completed in the spring of 2013. It was not meant for the concert hall. Instead it was originally composed as background “ambient” music for the Horizontal Blue installation. However, many have found it soothing to listen to by itself so it is available here both as an audio CD as well as a DVD version of the installation. The latter allows one to view photographs of the oil paintings while listening to the music.
Read the liner notes for the project below or browse here to experience an online (virtual) version of the installation.
“Horizontal Blue (Cycles within a cycle)” is an installation consisting of the integration of oil paintings and computer generated music. While the two mediums may seem disparate with regard to time and technique, they seem quite naturally connected to the artist. Time and space, being delusional fabrications at best, have no impact upon creations that are free of them. Thus, they are less separate mediums and more integrated expressions. Whether it be with pallet knife or computer keyboard, the end result is the expression of one, minute, aspect of the whole… one of many cogs in the wondrous movement of the multiverse.
Dispensing with the justification of the cohesion of the form, the long and the short of it is that the paintings dictated a positivity that is somewhat enigmatic in the world of synthesized sound. Quite often it is a mysterious and perhaps even a bit dark feeling one receives when listening to synthesized music. This can be substantiated by the statement that these sound combinations are unusual to the contemporary listener and so elicit an alien feeling, which is to a great extent true. For it is an evolved being alone that is capable of transcending the millenniums of conditioning that bind us to a certain time and place with regard to awareness… not to mention art. Nonetheless, the goal in composing the music that would accompany the oil paintings was that it would project the positiveness that the paintings do. So a primary driving factor in the compositional dictums for the music herein was one of feelings. The music was to serve the paintings and was to enhance or at least not detract from their positivity.
Of course one could question the very notion of positivity with regard to a simple visual image on the grounds that it is a highly subjective judgment… in defense of such a rational perspective… one could only acquiesce and beg your indulgence.