II. The English text of my presentation 20.11. On the making of the video Musical Paintings in Process During the time I was working on the paintings - on the Dvorak New World it was one year; on the Largo Shostakovich it was 2 and a half weeks! - I took photographs to keep record of the changes. Working in oil on canvas it often takes layers which cover the previous states and make the process as a whole invisible. One of the main differences in (to put it simply) translating music into a painting is the time element. Music exists in the duration of time, while a painting is a static realm in which all the movement takes place within a canvas frame. One way to give a time element to the painting was to make a montage of all the separate photographs, so the process of the painting could be shown as a sequence of images in time = a film. To coincide with the rhythm, impact and atmosphere of the music, I asked Kim Dijkstra to make the montage in a way that the changing of the separate images would follow the audio-track. For the Dvorak From the New World painting, the montage moves from kaleidoscopic details to a turning point, where the canvas rotates from a horizontal- to a vertical composition and is finally zoomed out of the movement to become an object in a studio space. For the montage of Largo Shostakovich, Kim Dijkstra made use of a special technique called morphing, where the picture frame is kept static and development of the painting is taking places within this frame, following the audio-track. You can see the painting grow, so to say. The painting is a reflection of the musical movement and visualizes the inner mood as composed by Shostakovich. I was really amazed to see the result and it is great Kim Dijkstra can be here with us, this evening of presentation at the Embassy. Welcome to Kim!
Posted on: Mon, 24 Nov 2014 19:50:34 +0000
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