Counterpoints and Variations began as a study of the way shapes, like hue, change character depending on juxtaposition. With imagery inspired by the interplay between patterns in nature and textile design, fugue-like contrapuntal compositions developed in which a single tile can be experienced individually or as part of a phrase, as representational or abstract, as emotional or grid-like. Related somewhat to pointillism, the patterns require the eye to merge lines and contours from adjacent images. After choosing a fixed group of images and patterns, I was curious to see how each shape would react to every configuration. In order to cross-pollinate, numbers were assigned to the images and letters to the patterns. The pieces become interconnected by pattern, image(s) and/or scale, much in the way we are connected to each other and nature on various levels, including social, biological and molecular.
Nature exists as part of a continuum and the music transcribed from selected sequences of the Cycles: Intervals offers movement through time. The tempo variations speak to our perceptions of time as relative, while also offering an aural pattern shift. During the installation, which includes MP3 players, each composition can be heard as Allegro Moderato, Andante, and Allegro, tempo variations that usually distinguish separate movements. As with traditional composition, there are limitless possibilities of music that can be created with these pieces.
My interest in exploring interdisciplinary connections, musical structures, and patterning was first stirred by reading Douglas R. Hofstadter’s book, Gödel, Escher, Bach: An Eternal Golden Braid. Inspired also by my studies of Reiki energy and of Zen Buddhist haiku and ink drawings that capture the essence of nature, I started working with a spontaneous meditative monotype process using block printing ink on metal leaf Chinese paper joss. This approach produced interconnecting shapes reminiscent of organic cycles in movement. In order to generate multiples, I digitally transformed the monotypes in 2008, which led to incorporating digital photographs of nature itself in 2009. All images are printed with pigment on archival Hahnemühle rag and mounted on Thai reversible Unyru paper painted with block ink, some with museum board on canvas. Flipping the process intents, I use monotypes to create multiples, and multiples to create singular finished pieces that are unique and will not be reproduced.
Nature exists as part of a continuum and the music transcribed from selected sequences of the Cycles: Intervals offers movement through time. The tempo variations speak to our perceptions of time as relative, while also offering an aural pattern shift. During the installation, which includes MP3 players, each composition can be heard as Allegro Moderato, Andante, and Allegro, tempo variations that usually distinguish separate movements. As with traditional composition, there are limitless possibilities of music that can be created with these pieces.
My interest in exploring interdisciplinary connections, musical structures, and patterning was first stirred by reading Douglas R. Hofstadter’s book, Gödel, Escher, Bach: An Eternal Golden Braid. Inspired also by my studies of Reiki energy and of Zen Buddhist haiku and ink drawings that capture the essence of nature, I started working with a spontaneous meditative monotype process using block printing ink on metal leaf Chinese paper joss. This approach produced interconnecting shapes reminiscent of organic cycles in movement. In order to generate multiples, I digitally transformed the monotypes in 2008, which led to incorporating digital photographs of nature itself in 2009. All images are printed with pigment on archival Hahnemühle rag and mounted on Thai reversible Unyru paper painted with block ink, some with museum board on canvas. Flipping the process intents, I use monotypes to create multiples, and multiples to create singular finished pieces that are unique and will not be reproduced.
