Music To Listen To Dance To Bring Me The Horizon Shapes of Music – Visual Art and Music

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Shapes of Music – Visual Art and Music

An artist has the privilege of making eye contact with you. Sometimes he wants to share his faith with just a few words.

The new “Visual Grammar” developed by the European avant-garde of the 20s, including the Russian avant-garde, such as Wassily Kandinsky, as well as the classical heritage from Ancient Greece to the Renaissance, is my research in art.

What I do is to build a composition on the basis of Visual Grammar, which consists of classical and modern schools, fill it with emotional content rather than intellectual content, and at this stage I give in to intuition. It is like a hard skeleton surrounded by soft living tissue.

I believe that the spiritual – ideal – objective model constitutes our actual reality.

So-called “realism” is a vague term that applies primarily to the art of depicting the visible surface of material objects. It is a symptom of an incomplete, even defective, primitive materialistic view of the spiritual horizon and reality, the result of which is a small part of the real world, a part that can only be seen and touched.

I should note here that many great works of art labeled with this word do not fall into this ill-defined category.

Purely abstract art, which is closer to me because it deals with ideas and pure forms, is also lacking in the matter of reality. I believe that the complete exclusion of material things as a class from painting not only impoverishes the artist’s “toolbox”, but is also a consequence and manifestation of a one-sided approach to reality (purely idealistic this time). It almost matches Plato’s view of the changing physical world as an impoverished and decaying copy of the perfect world.

Yes, abstract art has certainly brought great works to mankind in the 20th century. I can’t help but agree with what Roger Fry said: “The form of a work of art has its own meaning, and the contemplation of its form evokes in some people a special emotion that does not depend on the association of form with anything else.” But this does not mean that individual forms cannot be transformed into recognizable objects.

By the way, the first definition of a widespread term – visual music – was developed in 1912 by Roger Fry to describe the work of Kandinsky, which means the translation of music into painting.

As for any theory of intuition, or of the creative process as a mere act of genius, spontaneous, and purely emotional, it would hardly be necessary to discuss it if it were not so widespread an assumption. I have personally heard from several artists, one art critic, and several art dealers that the mental and physical aspects of the creative process (ie, ideas and techniques) are merely boring constraints and inevitably detrimental to creativity. I believe it began as a counterpoint to the dry, indeed pejorative, academicism or “classicism” of the mid-nineteenth century. It may have begun with some of the leaders of the (arguably) Impressionist movement clearly rejecting the “old rules” and emphasizing the importance of the artist’s direct impressions and spontaneous, emotional responses to those impressions in the creative process. But almost all artists of that period had a strict “classical” training before this rejection; They inherited all the goods of this domain, they inherited, even on a subconscious level, the basic rules of vision, which cannot be said about many of their followers in the 20th century, who still question the importance of elementary training in visual arts. The power of analytical and deductive components in art creation.

The Avant-garde movement of the first third of the century filled the void left by the already dead Academism and discredited Impressionism, a breath of fresh air. It not only restored the place of the intellectual tool in art, but also radically expanded the boundaries of visual art to an unprecedented level. I would like to emphasize here that at the same time, very similar and extreme processes were taking place all over the world in society, science, industry, architecture, literature, and of course music.

Having said that, I would like to summarize what this all means to me and my art.

1. A solid abstract and, if necessary, mathematically explained foundation of the work must be indispensable in my work.

2. In my opinion, I do not share a purely idealistic (Platonic style) approach to Reality, which leads to the spiritual Uncreation of the world, so my art must necessarily show objects.

3. My work must be a union of the ideal and the material, mixed with a third spiritual force.

In this regard, highly abstract music and musicians with beautiful “real” instruments are the perfect subjects for my practice. Moreover, music and visual arts have much in common. I can’t help but mention some categories that are common to both.

Rhythm – this is very clear: duration / length / frequency, including negative space / pause / absence / silence, creation (or composition) – all are common to both.

Proportions – harmonic proportions and their derivatives are defined in mathematical terms from very simple, discovered by Pythagoras – 1: 2, 2: 3, 3: 4, 1: 1 – specially discovered in the area of ​​acoustics / music ( These are from the art supply store (note that it’s the basic ratio of pictures that can be bought) and then moves on to the Fibonacci series, which are bounded by the absurd Golden Ratio.

Sound and color temperature (cold / warm). The idea is still debatable, but it’s clear that sounds and colors can be warmer or cooler. The exact scientific relationship between them is less clear.

Movement – uphill, downhill, elliptical, etc. Musicians don’t need to explain it, and neither do artists. See my research on the ups and downs of the ellipse in the very first image on my home page called “Triangle”.

All of these categories sound familiar to musicians and visual artists alike, right?

We can talk about background sounds and colors, and how sounds are like rays coming from a certain starting point, part of an endless line that goes from eternity to eternity. We can refer to the intensity/saturation of tones in both areas, for example, we can devote a chapter to the theory of the difference between “low” and “deep” continuous sounds, shapes and sharp “strokes” of sound. paint.

Regarding the human ability to see sound and hear color, I once again recommend Wassily Kandinsky’s synesthesia.

Another interesting topic is the concept of Counterpoint (also known as Contrapunkt), which describes the relationship between two or more different parts of a composition, which are rhythmically somewhat independent but interrelated. In my opinion, this powerful instrument was much less understood, appreciated and used in the visual arts than in music.

I have drawn these parallels at the most basic or basic level for these two arts. But as part of Life, they are constantly changing (I hate the terms “still life” or “natural death” because life is not static and cannot be “ephemeral” by definition), evolving, progressing, or, sadly, regressing. I find common ground in modern scientific thought (Relativity, Quantum Theory, Expanding Universe model, string theory, etc.) and modern art.

In the end, I am trying to do two things: to study reality, including the “visible” part of it, and to participate in its formation. I believe this is ultimately the essence of any creative process.

“Therefore we shall take all our rules for completing our proportions from the musicians, who are the greatest masters of this kind of figures, and from those things which nature best and most perfects herself.” – Leon Battista Alberti (1407-1472)

I am an artist.

I have the opportunity to make eye contact with you.

A selection of musical artworks from my “Forms of Music” series are featured on the site.

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