I have finished the second version of the music I Will. The video below talks about the two versions of this project and the differences in the music.
What makes this artwork unique is the experimental technique of scraping off the top layer of paint, reviewing the painted layer below. The creation of this procedure gives to me my own abstract style. Dealing with backgrounds has been a big pain since the beginning of this art. The music needs to be on something and that dilemma has been the struggle and the driving force behind this arts innovation. Although there is still some testing and trial and certain errors to come, I believe after fourteen years of changing background styles I now have a straight path forward.
I like to follow up on what I have said concerning what the viewer is to do when standing in front of the artwork and then playing the music. Originally, I wanted the viewer to listen to the music and visually follow the flow of the music that is the artwork. That made sense. The viewer could then see how the music and the artwork related to each other, which was a founding reason I wanted to paint music. That reasoning worked great as long as it was up to the viewer to find the music on their own. They then needed to figure out by listening to the music exactly when and what the artwork flow was displaying. That all changed when I added the music. My first push of a button was the first four notes of Beethoven’s 5th symphony. With that change, I made it a lot easier for the viewer to follow along with the flow of the artwork. That relief did not last long.
Because this art is living and growing, new changes came along. I found better computer software to create notation, and that included higher quality computer versions of instruments. It did not take long for me to create a notation that used multiple instruments representing the flow you see in the artwork. A good example of this is the wonderful 2019 artwork, Will The Circle Be Broken.
Then came the awakening that shocked me: this art and the music in it had grown to where I could not follow consistently along with the music and the artwork. If I could not what hope would there be for the causal viewer? Not being able to follow the flow of the music of the artwork left me with the question of how the viewer was to interact with the artwork? I had made a great advance with this art, but unintentionally I created a conflict between enjoying looking at the artwork and listening to music. With the presence of a button to push to play the music, I had created artwork that interconnected sight and sound. For now, unless I figure out something else, I recommend the viewer keep the two senses separate. Look at the artwork as a representation of a song in color and form. Then press the button and enjoy the music for what it represents, the sound of art.
Scott Von Holzen