S_V_H An so it is

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I am back working on this blog site.

And So It is (The Blowers Daughter) ≈H28xW34X9 inches

I am wondering if the imagery and this video’s ‘Debbie downer’ feel was very personal to Damien Rice. The ending of this video I also wonder if that was a personal message, for he drags this out even more than he drags out the rest of this song with these words space wide apart: “My mind__________My mind__________ ‘Til I find somebody new.” I hated that ending and dumped it from my cover. Now, maybe he just did not care how the public took this video or this song lyrics. Maybe, he was expressing his own deep hurt. And that he did accomplish. Although, I believe in the quality of this song, I wished he would had given the music and the video a little more something except that love is nothing more than drab shades and tints of brown. And I am not going into the wind thing blowing what appears to be his lost love around. Filming her hair floating around her would have added a lot of interest. Instead it look like it was hanging on for dear life.

I choose this song before seeing the video, also I chose this song before I read he never ever really, really, explained it, especially that title: The Blowers Daughter. That title makes me feel he was not concern with marketing his pain. The girl was never mentioned in the song. So who was that girl with the long hair desperate to find shelter? I do not know and this video made it obvious I should not care. It is a great song that should have been given a little more kindness. That is what I do in my cover.
I should mention that I am being a little to bold here. This is a very good song. Well written and well preformed. I am lucky I have this opportunity to complain but it not being what I expected.

Scott Von Holzen

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SVH_ I am Bach!

Published on by Scott Von Holzen

I am bach from a long time away from blog posting. Most of my

This is Chandelier from the music of SIA. ≈ H45″ x W31″ x D8.5″

Chandelier took forever to finish. The mUSaRT project, color theory, and figuring out how to create the wheel in Affinity Designer caught up with it. All the up and down time was the center of the Studio activity. It was reaching v12 of my 3D color wheel; I could then turn my attention back to art. A couple of things that stand out: one is the lyrics. I cut a piece of Epson matte canvas and could write and remove my lettering until I could actually read my writing. Before I place the lyrics on 3mm plywood, and supported it with a top edge to give the wood a better look. Now, I would rather save time. The other reason, and this is also about the lyrics, I do not mind the ‘billboard” like of my aRTiNmUSIC presents seen here in the upper right corner. But looking back at previous lyrics, I felt those words looked too much the same. I am going with the flexible canvas and letting it sit on the artwork, instead of being ‘placed’. The flow feels to me to be a part apart from the cover music.

Actually, turning around in the studio and looking at Chandelier on the wall, but the image does not show the 3 dimensional look my eyes see. I used an earlier color wheel to help compare colors together, and that made sense at the start of this project. The skin-like orange background felt right with the lighter green. That came about from watching Sia perform live on several videos. I looked at the colors she favored and worked them into the artwork. And yet, I choose the exact colors I want, also using the video and images of the music as a directional guide

Sia – Chandelier ( Jimmy Kimmel ° Live )
Image of the South Wall of the Studio.

I am bach.

Today is June 21st 2026 and the following conversation between Scott Von Holzen and Mr. Brightside (ChatGPT) is from a draft blog post I did in March of 2026. I going to leave it here as is:

Studio Notes for From the Start:


Blog Notes — On Musical Traditions, Blending, and Authenticity
March 6, 2026 Conversation with Mr. Brightside, and edited by Gemini.

The Shift in the Groove

While cleaning the studio to a playlist spanning five centuries, I realized the musical needle has jumped the record.

For 600 years, Western music was defined by melody moving through harmony—tension and release built on chord changes. Hip-hop broke that lineage, treating the voice as a rhythmic instrument rather than a pitched one. It isn’t a matter of quality; it’s a shift in dimension. For those of us tuned to harmony, rhythm-first music can feel like a structural gap.

This evolution highlights a common historical cycle:

  1. Radical experimentation
  2. Commercial smoothing
  3. Deeper synthesis

We are likely in the middle of that third stage. Much like the American cultural story, these traditions are meeting, colliding, and learning to blend. The future likely holds a new language that combines the expressive flow of rhythm with the harmonic storytelling of melody. All the elements are already in the studio—it’s just a matter of how we move the faders.

Blog site format possibilities:

mUSaRT Zone Color Compass version 12.5 May 2026

I have been away working on 12 different versions of my mUSaRT wheel and then transitioned to building two artworks together to submit to the solo ARC Gallery exhibition. What happened is that I have spent almost all of late 2025 my writing engaging with Mr. Brightside and Gem from Gemini, on the development of the mUSaRT wheel. The goal was always to develop an overall new type of artist color wheel. Version 12 turned out to be the last version that was updated from 12 to a final 12.8 in the quest to find a solutions to some major flaws with this type of Utrecht Color wheel upgrade. These existed from the start, and still existed with version 12. Therefor, finally, I have had to switch to a different ide. This new Color guide is bound to consume months more effort to create. That start is going to have to wait. I need to return to writing my ideas and displaying my art progress that has been completely tossed aside. I finally got caught up last night after 9 pm with the deadline for the ARC submission being 10pm last night. This is most important exhibit submission of the year.
This is also my third time I have gone through this effort. I feel this is my best effort of showing and explaining this art, but if I make the first cut that is the best I can hope for. So it goes. No one said this would be easy.

Scott Von Holzen.

aRTiNmUSIC: First Image Laufey’s fROM tHE sTART

Published on by Scott Von Holzen


This is the Final final image of Drive project combining the emotions of mUSIC andthe colors of aRT to represent mUSaRT

Above is the Final final image of Drive project, combining the emotions of mUSIC and the colors of aRT are represented in mUSaRT.

Okay, I liked this song From the Start, when I first heard it on the Grammys.

The Grammies is where I first heard this song.

I did not know who Laufey was, and it took me until the start of the project to even know how to pronounce her name. I liked the Bosa Nova rhythm of this song, which was a total surprise. Eventual I was looking for a newer “unrequited song” to paint, and this song came to mind. It was the jazzy sound that convinced me to make this music my next project. But (TiAaB) I did not realize she is only 26, which should not surprise me, she is a pop star, but after watching her videos and her style of outfits she choose what I thought listening to the music this was a young but more mature jazz singer type of pop star. But (TiAaB), as I watch her video, From the Start, I wondered why she was dressing like a “girl,” instead of a fairly sophisticated 40s torch singer, for example. I then looked at an other images of her in other videos of her, and I kept seeing a little “dress-up girl” instead of a young Ella.
That thoughts has caused a lot of issues, choosing what colors to use to define this artist and her music. I finally settled on three videos, including this one, which I have all posted on her to point my color directions, which of course is a young “girly” theme of pastels and soft and floating, and diverse. I do not know. but (TiAaB) I will not abandon this last “unrequited” love theme series until this work is done. I have found a new musical direction.

“Things that make you go,hmm, hmm, hmm*”
(The back en forth between Scott and Mr. Brightside.)

Big Band Pulse. Rock Engine. Jazz Cats with Chops.
The rest? File it under Museum White Noise.
(Definition of this aRT and the aRTIST)

After all these projects, I’m reminded that aRT is hard work. The standards always start high and end somewhere around “good enough,” and that’s fine. I don’t need to explain every brushstroke or note anymore. Better to say, “Here it is. I hope you like it. Any questions, let me know.” That’s the new rhythm — less talk, more making. And if I can slip in a few other art or music obsessions along the way, maybe that keeps the fun alive.

“The Garage Was Our TikTok“
(draft essay – Brightside edit)

Scrolling through Spotify’s 60s Garage Bands playlist, I hit a page of 14 songs — Gloria, Incense and Peppermints, Just Like Me, Talk Talk, You Really Got Me — and realized I have a personal memory attached to every one of them. Fourteen songs, fourteen scenes from a life.

Back then, music wasn’t background noise; it was the center of the conversation. Every riff and drum hit was an invitation. Boys and girls came together through songs, not screens. We learned who we were by how loud we turned the volume and who we were with when we did.

Today, the social space music once filled has been replaced by video loops, algorithmic beats, and thirty-second dopamine bites. The sound is bigger, but the meaning smaller — a digital carnival of slap-stick filters and “check out the girls” distraction.

Garage bands didn’t chase views; they chased sound. They built community with amplifiers that hummed, not wireless earbuds that isolate. Their mistakes became identity. Their limitations became style.

When I hear those songs now, I don’t just hear the past — I hear a time when music connected us. It didn’t sell us something; it made us someone.

This is the first image of Laufey’s From the Start on the wall.
Nov. 25th
Here are all the staffs cut out and ready to be installed. Nov 30th
Here all the musical notes and their stems.
Nov. 30th

I have spent much of my time working with Mr. Brightside on a New Color Wheel that combines the colors of Art with the Intervals of Music. And we have had to change course of number of times, and have lost valuable time doing so. But, as everyone says, “but,” we are back on the path and this tool is going to prove what I have always thought since early 2006 Art can be Music, and Music can be Art


Scott Von Holzen
*c & c music factory