S_V_H Twinkle Little Star image 3

•10/06/2019 • 1 Comment

Twinkle Little Star.  Again, I have laid out the pattern of this four-part artwork on a slanted canvas. I have finished all the major parts of this artwork.  Up next I will connect the sections.

I have been working on this artwork over a month which lately seems to be my current pace.  That includes most of those days in the studio, morning, afternoon and evenings.  Like other images of this artwork, it is disappointing to not see the effects of the reflections of the added mica flakes.  The reflections of the metal flakes add to the “twinkle”  of this musical theme and add to the night sky look in the darker areas.   I also used mica flake on other parts of this artwork.   I did so to add interest and to avoid the use of unnecessary added, in-your-face colors, that are nothing more than fillers.

I can see looking at all four sections of this artwork spread around my tables that it may be time to move in a new direction.  I do not want to abandon how I got to this point, but I would like to see what other ways I can design the look and incorporate the improvements I have made in sound.

Here is the latest version, using the new software, of my arrangement of this artwork’s music.


Scott Von Holzen


S_V_H Mozart K265 Var 5, Twinkle Little Star Image 2

•09/28/2019 • Comments Off on S_V_H Mozart K265 Var 5, Twinkle Little Star Image 2

Here are the four sections of this artwork, laid down on a 4 foot by six-foot canvas.  Not seen in the photograph,  the blue stems have an iridescent look when the light and viewing angle changes.  Also, the music is white with a pearl iridescent glossy glaze that adds depth but again, does not show in the image.

I recognize, before even starting this project,  the importance of the music to define the quality of the artwork.  I created the score, with Mozart’s guidance, using the free notation software Musescore 3.  As a first, in the previous blog entry, I uploaded the audio, with the thought it was too good not to show off.  Since then I purchased another notation software, Notion 6.  The advantage of this paid software is the sound library is huge.  I will use both for I have more to learn.  The one goal for the audio is to create a natural and realistic sound equal to the quality of the artwork.

For this artwork’s color choices I will continue to control the use of multiple bright colors. This artwork is a children’s song with a classical musical twist, so the logical range of colors would be bright multiple pure colors to black and deep browns.  For Twinkle, I am using a few pure colors to add and not distract from a general overall soft look of the artwork.  That sounds like a line of art speak found in countless artist’s bios. The next sentences are practical and not art speak.

Next up is to add features to these four panels to fill up space and add interest.  From its earliest days that has always been a necessary step.  So it continues.

Scott Von Holzen

S_V_H Mozart KV 265 Version 5, Twinkle Little Star

•09/16/2019 • Comments Off on S_V_H Mozart KV 265 Version 5, Twinkle Little Star

On my studio floor are musical pieces for the new art project, Twinkle Little Star.  This artwork’s music comes from Version 5 of Mozart’s piano composition KV 265.  This music comprises twelve variations of a French Folk song and the music for the children’s song Twinkle, Twinkle Little Star.

Here is a YouTube video of  Mozart: “Dodici variazioni per pianoforte su Ah, vous dirais-je, Maman, KV 265” Version five starts at the 04:25 timeline:

For this musical version, I have added Strings and changed the ending.  This is the audio, so far:

I dated the start time on my work sheet as September 3rd, two weeks ago.  In the past my earlier work was spend planning and then creating the wood pieces that would make up the flow of the music in the artwork.  This year, once I have chosen the music, I start the project knowing the artwork will have active music.  Because of adding sound I then need to create an arrangement with a good start and finish.   Having that I then can design the look and flow of the artwork.

Scott Von Holzen

S_V_H Walking In Memphis Final

•09/01/2019 • Comments Off on S_V_H Walking In Memphis Final

88″ Length by 33.5″ Height by 4″ depth

My start date was July 17th for Walking in Memphis.  I finished on the 20th of August. Most of my final thoughts on this artwork are in the YouTube video, but I will add a few more comments.

The piano and strings in this arrangement are the interactive parts of this artwork created using the software MuseScore.  In my video, I mentioned that the strings are the voice of the music.  I’ll add that the piano part of the arrangement connects Marc Cohn’s video to the artwork.  I now see sound as a transformational tool.  I once viewed adding music to my artworks as a selling gimmick for art fairs.  Nothing sold.  At less the non-paying public enjoyed it, although saying “Push the button to hear the music,”  grew tiresome.  What changed where the enthusiastic comments at ArtsWest’s Africa, and Mozart’s Turkish March at the Trout Museum.  A staff person at the ArtsWest library, at pickup,  asked to play Africa on our way out of the library.

My first serious music notation software, Noteflight. For years I used it only to create the arrangements of the music I painted.  My first added sound came with my little Beethoven 5th first four notes artworks.  I had found a recordable small plastic battery-operated soundbox with a half-watt speaker within an extension wired push button.  In 2018 using the software, Musescore, and soundbox enhancements, the music from this 1inch flat speaker sounds good on The Turkish March, and 2019’s ArtsWest artwork Africa.

My first Sound Box

After Africa, in early 2019 I created the jazz artwork Giant Steps whose style came from  2017’s Miles Davis artwork,  So What (Which I agree).  Giant Steps I believe I never considered adding music because of the limits of the soundbox and MuseScore’s synthesizer to replicate this Jazz masterpiece.  After Giant, I painted Over the Rainbow another experimental work based on the So What style.   From the blog entries adding music was a low priority.  That changed with Schindler’s List.

The largest in a long while, and a statement piece, I knew this music needed a higher quality sound to match its size.  Through research, I found a two-watt stereo amp that I could store and play a music file.  Instead of a flat one-inch speaker I now can power two, three-inch speaker placed inside their own custom made speaker boxes.  It required soldering.  I am getting better.

Adafruit Audio FX Sound Board + 2x2W Amp 2″ in length

Next up came Mercy Me, a self-inflicted obligation project that I saw as a long shot for a local environmental exhibition.  The song Mercy, Mercy Me was my first choice for this show.  My choice of music and time restraints made adding sound only a consideration.   Mercy, Mercy Me,  did not show.  I never created a sound file.

With The Blue Danube, I returned to doing artworks for me.  From the start of Schindler’s List, I knew I wanted to add a music file.  In fact, this artwork is a turning point.  From Blue Danube and Walking In Memphis onward finding the right music for a sound file is as important as finding what music to portray.

One final thought on Walking in Memphis: this music by Marc Cohn is the first song on Spotify’s playlist, One-hit Wonders.

Maybe this artwork will someday be a wonder on its own playlist of Greatest Hits.

Scott Von Holzen


S_V_H The Blue Danube Final Image

•08/17/2019 • Comments Off on S_V_H The Blue Danube Final Image

The Blue Danube (2001 Space Odyssey) 82″ length x 35.5″ in height x 4″ in-depth

I posted a final video on The Blue Danube on July 4th.  The video explains how I connected the Artwork to the music, to the movie.  I have been working on this project since May 23rd.  Following the lead of The Theme from Schneider’s List, the overall color range for The Blue Danube resembles the look of the movie 2001 Space Odyssey. The main colors are neutral,  a mix of black, gray, white.  Beyond the color blue, I added small splashes of brighter accent colors, found in the movie, to add interest and contrast.   My style now is to stay away from the rainbow look of using too much and too many bright colors creating art that is strongly punchy.  When I see a lot of flashy colors in a lot of today’s contemporary art,  I think baby toys.  All that mix of bright colors diminishes the impact and can be a fallback tool to distract from the lack of originality.

For this work, I thought I would experiment with another wood frame.  My thinking was that the white-painted wood frame would match the movie better than a bright metal frame.  I did not see a lot of bright metal in the movie.  Because of the length of eighty inches for the frame pieces, I found cutting the wood a challenge.  They required a lot of sanding.  One advantage of using wood frames is that the music, also made of wood,  adheres strongly to the frame.  This is not the case when I am using metal frames for I am gluing wood to metal.  What I like about metal is its strength, straightness,  and modern look.

I specifically created The Blue Danube project for entry in this year’s Major fall art show at the Eau Claire Confluence center.  Since it is important to always submit the maximum number artworks, I also entered Giant Steps and The Turkish March (rejected for last year’s show).  I received this news on August 7th.

“Dear Scott,

Congratulations!  You have been selected as an exhibiting artist for the Confluence of Art Annual at Pablo Center at the Confluence.

The work selected for this exhibition is:

The Blue Danube

Pablo Center has kept images of all the accepted artwork for use in publicity for the exhibit.
Exhibition Dates:     September 13-November 3
Meet the Artists’ Reception and Awards Ceremony: Friday, October 4, 5-7pm
Rose Dolan-Neill
Visual and Literary Arts Manager PABLO CENTER AT THE CONFLUENCE
128 Graham Avenue
Eau Claire, WI 547011.715.471.6130
Pablo center. org •    

The exposure will be valuable.  The Pablo show is the next addition to this artist’s best showings including Eau Claire’s ArtsWest, The Secura show at the Trout Museum in Appleton, and the current ROOTS exhibition at the Center for the Visual Arts in Wausau.  Being at display at the Pablo may offer a greater benefit of turning this unknown, unknown artist, into the unknown local Artist. Looking forward to the reception.

I am close to finishing my current project, Walking in Memphis, that like The Blue Danube will be my primary entry for another exhibition later this fall at The Museum of Contemporary Art in Wausau.


This is my 600 Blog Entry.  Vincent Van Gogh sent Theo 663 letters.

Scott Von Holzen

S_V_H Walking in Memphis image 3

•08/13/2019 • Comments Off on S_V_H Walking in Memphis image 3

This Artwork, Walking in Memphis, has a constructed look similar to the previous project The Blue Danube (2001 Space Odyssey), and is a continuation of a style trend that first appeared in Giant Steps.  In this image I have added features to separate Walking in Memphis from previous music.  Examples are the obvious Elvis image (public domain).  It looks to me that this image is from the song Jailhouse rock.  In the video of Walking in Memphis it shows the gates of Graceland opening.  I was hoping to find a free-to-use image of Graceland music gates, but could not.  I found several interesting images like this one with Elvis in front of the gates.   Being also a photographer, I am uncomfortable using any images in my artworks that are not copyright free, or public domain.  For this artwork the high-resolution image of Elvis in action looks great and covers the mentioning of Elvis in the song.

26 April 1957: Elvis stands in front of the gates to Graceland, his mansion in Memphis, Tennessee
Picture: Everett Collection / Rex Features

Just below the Elvis image, on the bottom section is another public domain image, but this time it is of W. C. Handy.  Marc Cohen mentions him early in the song.  According to Wikipedia he is the Father of the Blues, and was too first to publish Blues music, and who wrote the song Beale Street Blues in 1917.

Another feature of this artwork, I mentioned in a previous post, has to do with my notes painted in a color similar to Elvis’s Blue Suede Shoes.  I added to the look of those shoes even further by placing five little drops of gold paint on each note to signify a row of the five golden grommets on his blue suede shoes.  One last obvious mention are my musical ties painted to look like a piano keyboard.  That design represents the dominant piano heard and that Marc Cohen plays at the Hollywood throughout the music video.

Next up, adding the last of the artwork features and words, which are always difficult to do.


Scott Von Holzen


S_V_H Walking in Memphis image 2

•08/06/2019 • Comments Off on S_V_H Walking in Memphis image 2

Artwork over 80 inches in length.

For this image of Walking in Memphis I have used a spacer boards so I can display the two sections together.  Right now the length of the artwork is eighty-four inches.  My music for Walking in Memphis is all in place and portrays the ending of the song, where it repeats the beginning.  Here are those words:

“Put on my blue suede shoes And I boarded the plane.  Touched down in the land of the Delta Blues In the middle of the pouring rain
Touched down in the land of the Delta Blues In the middle of the pouring rain.”
-Walking in Memphis Marc Cohen
The video for Walking in Memphis is in black and white.  I painted many of the shafts black and white with shades of gray in between.  I also picked a color to represent the Blues and painted the remaining shafts blue.  I arranged all the shafts into the two sections of the artwork.  To show my appreciation for Jackson Pollock, I clamped all the shafts from each section together.  Then I chose four different colors of fluid acrylics and pour each color into syringe like small plastic bottles.  I then squeezed out the fluid paint across all the wood pieces.  I chose the colors red, blue, yellow, and green for they appear in many of the Beale street neon signs.  Here is an example:
My version of Pollock’s style of drip painting when first applied mimics his style: swirls of paint.  My twist is that I then separate all the shafts.  This spreads the flow creating more movement and drama.
Finally,  I chose for the notes a mixed blue to resemble the color of the only pair of Elvis’s blue suede shoes:

In the four corners I have eight by ten canvases that I have covered with digital canvas night images of today’s Beale Street.  Later on I will add some much older black and white images of Beale Street, and other interesting items Marc Cohen sings about.


Scott Von Holzen