S_V_H Rondo Alla Turca First Image

This is a special project for an important event.  To start with this Artwork, of course, will build on the past, but already there are some big differences from recent works. This work is already six feet in length and the two end 6 inch by 8 inch canvases are all that I will be using.  Also, the distance between the canvases is incredible long and empty which will make for a lot of issues and needed problem solving.   Another first time feature is my use of printed decoration that I than attach to the canvases.

I realized while doing Vogue that many of the Art Deco designs I would like to reproduce on canvas would be extremely time-consuming and  difficult for me to hand paint.  Vogue took weeks to finish as it is. I chose than to go with simpler Art Deco designs,  for the reason that this art is about the music first and decoration is secondary.  Recently I found some nice Art Deco design files on-line,  and again they too have their limitations, but for now they will add a higher quality decorative look to this Mozart project.  The designs I print on Epson exhibition canvas using their archival inks.  I than coat the canvas with museum rated canvas varnish.  This makes me more comfortable with this option. That, and the expanding of my techniques, by continuing the art of modern collage created by Barque and Picasso, tells me I am good to go.

This first image of Rondo Alla Turca has the dimensions six feet in length by eight inches high.  I am creating this work specifically to be entered in the first juried exhibition at the new Confluence Art Center in Eau Claire.

Here is the interesting parts of the application:

My planed was to enter two artworks,  Vogue and this Mozart project until I read the application which stated a 60 inch artwork limit.  Vogue is 64 inches in length.  Than to my delight I read further about 3D artworks being accepted under 7 feet.  This Art is easily defined as sculptural, and since it is definitely three-dimensional, I think Vogue qualifies, and this Mozart project, will for sure, be just under 7 feet in length.

The Juror for this show is Dana Major who does “sculptural light installations and performative interactions……..,” so I find that interesting, and a small positive.  What I have figured out so far about guest art jurors is that this may limit the show promoters influence on who gets invited.  That also means that from year to year the quality and the making of the show can vary.  For this show  it is better that the Juror is from faraway Chicago, instead of locally.  The idea of a Big City Artist as the judge, may work to my benefit,  if she takes our local art seriously, and for me if she gets what this art is about.

The deadline for entry is June 18th and I will know by the end of July, if this local boy can nudge his way into limelight of this important first show at the Pablo Center at the Confluence.

Scott Von Holzen

S_V_H Vivaldi’s Autumn allegro 3rd mvt. image1


This is the first image of Antonio Vivaldi’s The Four Seasons,  Autumn Allegro third movement. This artwork consists of nine canvases for a total length of twelve feet ten inches. Since this is the last movement of Autumn, which is the season I am living in at this moment, I will be using a lot of the late  fall colors I see all around me. Today while out walking I picked up a number of leaves that I will keep for color references. What you are going to see in this background is a lot of earthy colors, faded greens, dirty yellows, and darker shades of red. The bright colors are for the music. I suppose it would be fine if I kept my entire pallet for this artwork like you see in the above images, but that would not be my current style. Generally, every color in the rainbow tries to find a spot in my works. Take a look at Keep on Loving you, and you will see what I mean.

I think this background will be fine for now.  Next up I will be applying a lot of stripping to give each canvas their own look. In their own strange way my strips relate to the lines of a staff in music notation, but the resemblance ends at that point.  I am not drawing the music I am depicting the flow only, but I do enjoy the comparison. The difference is my lines mean nothing, beyond adding interest to the artwork, unlike those five lines in a musical staff which represent a blank sheet of western musical notation.

The big think here is that I need to move a lot quicker with this work. Taking over two months to complete this one artwork, was not my original timing for this work. Stopping to do the Christmas canvas will slow this works progress, and because I am also working on a small work, all that is making me re-think a new Vivaldi in eight weeks. I could be destined to complete the first concerto of Vivaldi’s The Four Seasons, by the end of January.

Scott Von Holzen