S_V_H More Than You Know Final image

OK out there, here is the final image of  a great musical standard of the 20th century More Than You Know.  Listening to the Beau Brummels – They’ll Make You Cry.  I believe we use to play that song in the band, a long time ago.   On to Janet Jackson – Nasty,  which also feels good.  The personal preference is to be a nasty boy, but time and common sense has changed all of that. Billy Joel – A Matter Of Trust.

Some words about the words to this artwork, which are Luv you I do I do.  They are this artist interpretation  of the musical phrase, “Loving you the way that I do There’s nothing I can do about it.” The decision to paint a musical piece depends on these major things: How much does the music effect me.  For example can it be played over and over again, throughout the three or four weeks it will take to finish the work, and still sound fresh and meaningful?  Is there a musical phrase part of this music that has great interest and great opportunities to experiment with?  If there is a phrase that might work, and it contains words, can those words be twisted to  then become an expression of this artist.  And last, will the music fit on the available canvases.?  Actually, the first and biggest challenge is to go through the list of must paint music, and then convince all over again just why this music should be painted.  Some times it takes days, and no, no matter how practical it might seem, it is impossible to switch this artist mindset.  In other words, if  the current painting is More, there is no room for any other thoughts concerning the next work, which is now to be Heart.

More is an impressive effort that breaks new ground.  Above you are seeing on the top left the evolution of a musical beam.  On the whole right side you are seeing a a new take on a musical slur. Why should that make a difference?  Both of the examples above, show the slow but consistent effort to not paint boring things.  Certainly,  a curved line is a slur, and a rectangular box is a beam, but this art would have abandon a long time ago if that was all there is.  

Bruce Springsteen – Broke The Mold.  This artist understands all art evolves with repetition, but there is that moment that can separate the wall decoration painter from the born-to-lose artist.  This moment happens any number of times throughout an artwork.  Thanks, to the artwork, that demands to be different, and thanks to this artist is still lucky enough to feel what the work is saying, there is hope that the future will be full of of  swishes to swashes yet to come.

More Than You Know – Erroll Garner – Barbra Streisand – Dave Brubeck – Frank Sinatra – Judy Garland – Thelonious Monk – Dinah Washington – Billie Holiday – Ella Fitzgerald, and this artist’s very very favorite Sara Vaughan.

The third style point  used in this work, that has been mention, are the little abstractions that are the shafts used in five different locations.  At first they where thought of accomplishing something special, but soon those feelings faded away from that when they appeared to be lost in this work.  It was only adding the light green line along their edges did they seem then to pop back.

Platinum Weird – Will You Be Around.

It is the music that maintains this blog and the art.  It is hard to pull away from every night. It means that much.

Mozart – Piano Concerto No.22 III: Rondo.  From here next up is a 3 panel work  from the music of Don Henley entitled The Heart of the Matter.  The words chosen for this music are fitting and sum up the meaning of the music.  Those words are “forgiveness.”  You see if you can figure it out.

Something To Believe In – Poison.

And again Sarah Vaughan – More Than you know that is the finish to this blog post.

Scott Von Holzen

~ by Scott Von Holzen on 10/02/2011.

2 Responses to “S_V_H More Than You Know Final image”

  1. I am very interested in your work. I think you are attempting to find visual equivalences for musical experiences. There is something synaesthetic about it. Good to get the verbal detail on the song too. The abstract forms seem to be based on the musical notation. How do you decide what should be there and what to leave out?

  2. Andy:
    Nice to hear from you. Your question about “…what should be there and what to leave out?” The answer is this: Each painting is a complete musical phrase based on my own arrangements that are presented to show the flow of that musical phrase. Since all I want is the flow of the music I leave out anything that prevents that and what is left I work it until something original comes out. To explain, all most any musical piece can be played or sung with a variety of tempos. So, I use color to start with a general feeling of the mood of a particular piece of music, But then I soon drift and soon the work speaks to me, and away I go. The music is just a starting point. In works with words I do not use exact wording from the music. The reason for that is that those who find or know the original music, will see that the original meaning in the song, becomes a different meaning in this art. I enjoy twisting the words.
    best wishes, and thank you again for your support
    Scott von Holzen

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