Colour & Music Links

Colour & Music Blog

The Capturing of Gestures, Image and Light.

Just the other week I went to see a new show of Fiona Rae’s work at the Timothy Taylor gallery. Her gestural work to me always appears very deliberate and frozen in time and a bit dated, however, the new work is monochrome and exciting in its ability to appear to move quixotically and there is something mesmerising about it.

Fiona Rae Painting

Fiona Rae Gestural Painting

Later that evening I went to see the incredible electronica musician,producer and artist  Flying Lotus . Prior to him coming on stage at the large Brixton Academy stage my friend and I pondered on a large canvas box standing empty centre stage. All was soon revealed when he appeared on stage wearing a cap with reflectors and disappeared behind the screen which then became a virtual space with a light show projected onto it. The Bass throbbed,  and my whole body  felt completely immersed in a very heightened physical and visual way. I had a similar experience late last year when I went to see the incredible (and what felt like a game changing) Ryan Trecartin/Lizzie Fitch show at the Zabludowicz Collection. Here I put on headphones and was completely immersed and bombarded in a cross sensory installation and virtual world experience.

Installation by Ryan Trecartin and Lizzie Fitch

Amazing Installation by Ryan Trecartin and Lizzie Fitch.

It was incredible. It reminded me of some of John Zorn’s music, in particular The Big Gundown and his amazing compositions of the eighties, which bombard you from all angles at an amazing speed.

Flying Lotus at the Brixton Academy.

When driving back through the night following the Flying Lotus gig, I caught a great show on the radio with the great minimalist composer Philip Glass who has worked extensively in Opera and interestingly talked about importance of how the visual should leave space for music and leave space for the imagination or else he felt it was trying to advertise something. I found this very interesting as it is a world of advertising both overt and subliminal  that we live in. There is indeed little room for space and contemplation, and perhaps this is what is being reflected in these artist’s work. There is also a fascinating show on at the moment of John Stezeaker’s work which also contain super fast images which cleverly become contemplative also.

Sunlight on Performance Piece

Sunlight on Performance Piece.

Paint and light and their interrelationship as a medium, and the mark’s relevance in capturing time is something that fascinates me and is driving my ongoing work at the moment.

June 2015

Sunlight passing over Performance Paint

Sunlight Passing over Paint

POSTED: 06/2/15 3:00 PM

Correspondences in Iceland 15 (iii)

Following on from my previous blogs, Here are some of the most recent stills from the film I have been working on.

Performance Space Painting

Performance Space Painting (Film Still)

Still from forthcoming Film

Still from Forthcoming Film

Film Still for forthcoming film.


These images are the latest which reflect my continued exploration of process and the encapsulating of time in my work. In the coming months I will be tying the images together with filmmaker Håvard Helle with music and sound.

This weekend, I contributed a physical painting performance to the exciting “Sequences, Real Time Art Festival” in Reykyavik. The time-based solo performance took up the theme of Plumbing (the theme of the festival) and was filmed in a space immediately opposite the Kling and Bang gallery, where there was an exciting show of Carollee Schneeman’s work. The performance also reflected upon her work. Following my performance I crossed the road to see a showing of Fuses, and an interesting talk between Ragnar Kjartansson and Carollee.

A particular highlight of the shows and performances i went to was an amazing performance by Styrmir Orn Guomundsson called the death show, reflecting upon Death, Life and the passing of time at turns humorous and moving. There were also very interesting sound works by Finnbogi Petursson and Helga Griffiths .

Asides from the exciting festival, I also got to see the incredible Harpa building that lights up at night. An extraordinary and beautiful sight.

Harpa Reykjavik

Beautiful Harpa Building.

Listning to:

To Pimp a Butterfly- Kendrick Lamar

Damogen Furies-Squarepusher.

Epocotyl-Portia Winters.

Radhe Radhe-Rites of Holi. Music by Vijay Iyer.


Sound-Unbound-Paul D Miller

“Rite Of Passage” The Early Years of Vienna Actionism. Snoeck.

April 2015.

POSTED: 04/14/15 6:19 PM

Correspondences 15(ii)

One of My favourite sounds at the moment is rain pouring relentlessly outside, some of it dripping into buckets, placed perfectly in a my decaying leaking mouldy studio. Messiaen’s Birdsong, plucked from my Pram of Vinyl ( an old and well used Silvercross pram) and played beautifully by Peter Hill (with whom I once performed). Music, Sound and nature working harmoniously together. I love these moments when all senses intermingle and work seamlessly.

Over the past few posts I have enclosed some stills from a film I am still working on.  Much of the film is set in the woodland of which surround the studio where I worked until very recently, with a soundtrack which will include the cross sensory music of Mira Calix which I am listening to at the time of writing.  The organic sounds of the music is reminding me of  a few precious hours last year watching the mesmerising  “Water Light, Water Needle” (also set in woodland) whilst waiting to meet  Carolee Schneeman for Lunch, prior to an opening of an exhibition of her solo London exhibition at Hales Gallery. It’s the first time we had met and also that I had seen a solo show of her work, and lovely to see how fresh, organic, revolutionary and revelatory it still feels, though a lot created nearly 50 years ago, and for many years neglected. So much of Schneemann’s work, as do many other artists,  feel a real connection with. It all feels so refreshingly engaging, yet speaks to us all about expressing through our own body’s and taking the image all the more closer to a bodily and whole fundamental cross sensory experience. The work seems timeless though created via performance and instances. In short it feels rare and special, going beyond the image and towards something liminal and on the threshold. When watching Water Light…. I thought a lot about the fruitful collaboration with the groundbreaking composer James Tenney and I am fascinated how music fed into Schneemann’s  physical/ visual work speaking so strongly today.

Whilst on the subject of Schneemann and Time, there is a forthcoming exciting festival “Sequences Festival” starting in April and is featuring her work amongst other time based video work by Jordan BasemanEd Atkins and others. A few evenings ago I went to see a warm intimate talk with Jem Finer, whose work on time continues to fascinate. His work eloquently examines the passing of time via the use of sound, mechanisms and films.

Last year I also met with the writer Erin Soros (whose short story was nominated for a Costa Award) and I continue a long distance collaboration. Her writing is incredibly cross sensory and is also about a different woodland and the passing of time in Canada and beautifully descriptive visceral writing about logging in Canada.  I am at present furthering this work with Erin on films and interventions, a meditation on time, nature, improvisation and the feeling of displacement across continents and she has written passages that respond in part to my performance abstractions to music by the Australian Composer and Pianist Andrea Keller overlaid on Perspex.

I notice of late (with pleasure) there has been a renewed interest in Painting performance/and physical work with a great exhibition by Hauser and Wirth called “Right’s of Passage” with work by artists such as Hermann Nitsch and Rudolf Scwarzkogler. A few years ago when I was looking in great depth at the Gutai artists, all I could find was one definitive book (which is fantastic) by Ming Tiapo. Absolutely extraordinary when you think about all the huge glossy monologues on much lesser influential groups and western artists. Thankfully and mercifully though this is being readdressed with shows such as “Splendid Playground” at the Guggenheim, and the absolutely terrific “Danser sa Vie” at the Pompidou which I saw a few years ago and currently there are a few solo shows of great neglected performance painter Kazou Shiragu whose “Challenging Mud” is a great example of process based abstraction. In all this work I find great connection via the crossing of senses to act of a meditative practise. In Shiragu’s case he spent a great deal of his life as a Buddhist Monk. As I mentioned in my previous posting with the Sound work of Ikeda and Marclay and the influence of Cage…it is this work with its reflection on the capturing of time which I draw upon in my own imagery and sounds.

Listning to:

SunnO))) and Ulver -Terrestrials.

Morton Feldman for Phillip Guston.

Tru Thought’s -Robert Louis via Soundcloud.

John Cage 18 Microtonal Raga’s- Amelia Cuni


Rite Of Passage: The Early Years of Vienna Actionism.

Andrey Tarkovsky- Sculpting in Time

Helen Frankenthaler “Composing with Colour” (Gagosian NY)

POSTED: 03/2/15 4:39 PM

“Correspondences” 15.

Happy New Year to all reading this.

Recent workings and research over the past years have concentrated upon the “Correspondences” between the senses, and the encapsulating of time within music and sound via hybrid collaborative performances and interventions. It is work that relates to this that fascinates me, albeit either via painting, Music, sound art, poetry or via media. The performances I undertake are most often cross collaborative in nature and question the ontological status of the artwork left.

Correspondences were the overriding theme of a conversation I attended last month at the British Library between the American artist Christian Marclay and the Japanese sound artist Ryoji Ikeda. It was a fascinating to hear and see Ikeda speaking about how light and sound were as one for him. He also mentioned that he deliberately threw away his pallete, instead insisting on concentrating upon tonal shifts relating to Data, speaking eloquently about randomness and the accidental. Marclay  is fascinating and I felt it was rather a shame there was not more discussion about his own work as Ikeda’s wprk Sphere was the focus.  His exceptional 2010 durational piece “The 24 hour Clock” is one of the greatest recent pieces on the nature of time.  ‘Time is everything’ Marclay and Ikeda agreed and both acknowledged the influence of John Cage’s work on their respective works. In response to my own question about time in their respective work, Marclay spoke about how time differs in his experience of Improvisation and also upon viewing art in a gallery, becoming unaware of time in opposition to the composition of music, which is heavily structured and dependent on time. All these ideas and questions fascinate me. Both Ikeda and Marclay’s work is mesmerising and all consuming, and I couldn’t help thinking of the experience of meditation in relation to their time based work.

In recent intense interventions in art galleries and concert halls of my own, a score of sorts via sounds is created and now I am devoting time to analyzing some of this work musically, reinterpreting the painted images left via sound.  I am also re-examining the notation in conjunction with to these paintings and was recently given some copies of Messiaen scores, which I am also looking at in relation to my own painted responses over many years. This was in part prompted by a comment that Art Historian Richard Cork made when viewing one of my paintings asking me if I could remember certain chords played to a certain mark I had made.

While on the subject of visual music, The other week just before Christmas time I went to see the latest Gerhard Richter show at the impressive and elegant Marion Goodman Gallery in London which had two fantastic large subtle grey pieces in response to the music of Arvo Part. Recently I have been listening to incredible distorted minimal sounds of Son0))) and I couldn’t help thinking that their monumental music would have fitted perfectly with some of the incredible Richard Serra sculptures currently on show at the Gagosian Gallery in London.

There has also been some recent fascinating shows directly relating and interfacing music and earlier this year on this theme called “Part File Score” at the Hamburger Bahnhoff by the sound artist Susan Philipsz. The show looked at the interplay between sound, notation and displacement. There is also a show in Zurich at the moment, called “The Present Moment in B-Flat” by the artist Anri Sala, who also looks at the capturing of time in music via video installation, whose work was so powerfully displayed a few years ago at the Serpentine Gallery. It is this feeling of displacement between the moment, and the different experiences of time, which are the themes I continue to explore via performance, objects and film.

Listening to:

Flying Lotus: “You’re Dead”

D’Angelo “Black Messiah”

Tru Thought’s  Unfold on Mix Cloud

Quantic: Magnetica.

Aphex Twin: Syro

SunnO))) and Scott Walker “ Soused”

Ligetti  “Clear or Cloudy” Collected works.


Brian Eno-Visual Music.

Oskar Fischinger-Experiments in Cinematic Abstraction.

John Gage- Colour and Meaning.

Simon Shaw Miller-Eye hEar.

POSTED: 01/9/15 3:36 PM

“Landscape, and the Passage of a Time.”

In the past few months I have been travelling  in Arizona.

The Landscape there is absolutely extraordinary and I love it. Whilst there I travelled to a place called “Sunset Crater”. The landscape was so new, almost as if the the Volcano had just happened, only betrayed by some knarly old trees, dead amongst the black landscape. There amongst this landscape were these very beautiful, fragile red flowers swaying in the hot desert breeze. The colour reminded me of my own performance paintings, especially those on black. It also got me thinking again about time , and making my mark of colour on it and then colour upon blackness perhaps being highly symbolic of this passing of time.

The Incredible Volcanic Landscape of Sunset Crater.

Sunset Crater

flower in volcanic crater

A Flower inside a volcanic landscape in Arizona

I sense this at home also, when I am walking through the oak woods near to my studio. Looking at a hundred or two year old Oaks and thinking about what has happened and is happening in the lifetime of  a tree. Human life is a bit like a mushroom in comparison. This cyclical passing of time is mentioned quite a lot in the show on at the moment by Anselm Kiefer at the Royal Academy of Art. For myself, I was even more impressed by a show I saw of his in London in the 1980’s called High Priestess which eloquently made the point that time can be contained and unseen,  in a series of gigantic lead bookcases of which the viewer was completely dwarfed by.

Time is further  highlighted by the decay in my studio which is now starting to fall down. I am documenting this happening and will be filming some performances in the coming months as the winter descends. I feel a new era is dawning in my work as the Autumn begins and the light drops.

Decaying Studio

Studio Scene (Film Still)

POSTED: 10/1/14 6:01 PM

“Transformation and the Cube of Emotion.”

A few years ago I showed a documentary photograph of a performance of mine to a close friend  unfamiliar with my recent work. It was assumed that the image they were looking at was a painting of mine, whereas in actual fact it was a documentary photograph of me in the act of painting. This made me think of how my own body and the images produced are interconnected and how the image is perceived. It also made me think of how my own body can portray the subjectivity of performance in physical and metaphysical ways.

The body  is becoming more intrinsic to my work and practice recently, and I am continually working on a series of short films in the Studio exploring this theme. I am looking at the work of Carolee Schneemann, and Jack Smith in connection to this too, and of course the links to music. In particular concentrating on Shneemann’s work with composer James Tenney.

Performance Painting

Body and Performance

Here below are some stills from the films I am continuing to work on at the moment,  showing my own actions in the studio, in nature and in painting.

Selecting of Music and sound in the studio

Selecting Sound

En Plein Air Painting

En Plein Air Painting

Performance Painting En Plein Air

En Plein Air Painting

The collaborations I form in my work are what Ryan Trecartin in a recent talk with Hans Ulrich Obrist stated  ”opening up a landscape of possibilities, rather than a final vision”   and create transformations across the art-forms via performance. The paintings and the images produced are often destroyed, becoming a bi product of the whole experience in itself. I  enjoy this notion that Painting itself, becomes all encompassing and at yet at the same time inconsequential. In the first Gutai exhibition (the exhibition in the Sky),  paintings were submitted to be let off with balloons and watching  Jordan Belson, James Whitney’s and Len Lye’s magnificent films the eye captures beautiful images which last for fleeting seconds before moving on and into others. (Visual Music). All this feeds my thoughts and ideas about the capturing of time within my own work.

There is an interesting and relevant group show on at the ICA shortly on the premise of Painting being part of a multidisciplinary act, named “Beware Wet Paint”.

Many my ideas often start with a box, containing my ideas.  My Studio is in itself like a box, containing many of my projects. I made mention in an earlier blog to the work of Wally Hendrick,  whose performance box, “The War Room”  made such an impression on me. Since then, I have been looking at lots of boxes.  In the last few years, i’ve noticed in particular ones by Paul McCarthy and Mathew Day Jackson as well as older examples such as Joseph Cornell, of whose boxes I have always loved and was reminded slightly of when looking at Anselm Kiefer’s vitrines the other day. There is a good article just written about them Cornell’s boxes and film . I have also been reading about Hugo Lovheim’s cube of Emotion, which also seems to open a link between the cube and my own performances.

However it is really the idea of the concept of a performance and then that simply being packaged as a product (a cube) . I will be showing these works and films soon.

Listning to:

Andrea Keller: Wave Rider.

Gillian Weir: Messiaen Organ Music.

Mira Calix: Elephant in the Room.

Aphex Twin: Syro

Lost Midas: Off the Course.

Mark de Clive Lowe: Church and Take the Space Train.

Vinko Globkar: Improvisations.


Where The Heart Beats- John Cage and the inner Life of Artists-Kay Larson.

Telling Tales- Amit Chaudhuri.

Jan Fabre- The Years of the Hour Blue.

Hans Ulrich Obrist- A brief History of Modern Music.

September 23rd 2014.

POSTED: 09/22/14 12:22 PM

Beyond the Surface.

Here are some still images from filmwork I am working on with the Norwegian filmmaker Haavard Helle, with whom I am collaborating.

The filming is an extension and a progression of my work to date, which are all via performances and moments in time. This will focus on transformations that tale place with paint, music and sound,  and provide an essay to  facilitate a greater understanding of the practice and processes and time based nature beyond the surface of my work, and form part of displays and events over the coming year.

Painting and Spaciousness

Painting and Spaciousness

Lonely Painting

Lonely Painting in the Woods.

There are some good shows relating to the intersection of music and art, on at the moment,the magnificent Klee still at the Tate, and  Martin Creed at the Hayward.

I am greatly excited at the moment, about the forthcoming Carolee Schneeman exhibition, and the film by Marielle Nitoslawska “Breaking the Frame” at Hales Gallery, and shown at the ICA in London both happening at the end of the month. Her groundbreaking work continues to strongly inspire me and I am looking forward to meeting with her.

Finally, the other week I witnessed the funk at close quarters with the incredible George Clinton, a truly legendary and extraordinary revolutionary figure in music. Whilst being transported to another dimension during an intimate performance in Metropolis Studio’s, I was amazed at the ability of this tight, beat driven music to just take over the body and mind. Its the same feeling I have sometimes when painting in performance, painting the music. The power of music.


Pat Metheny – Kin

Christopher Redgate- Electrifying Oboe.

George Clinton-Parliament Funkadelic. Lets Take it to the Stage/Cosmic Slop/Magot Brain.

Messiaen-St Francois d’Assise


Marylynne Robinson- ‘As a Child, I used to read books.’

Kristine Stiles/ Carolee Schneemann “Correspondence Course”

Wallace Stevens-Collected Poems.

Erin Soros- Short Stories.

POSTED: 02/7/14 6:00 PM

“It’s about that Time.”

My work at the moment explores in greater depth the concept of and the wider theme of time in painting via performance. In the coming months I shall be working on a film, and planning performances for next year exploring this theme of time, sound and the site specific nature of my painting. The use of the spaces, which I use and which surround me will be the focus of this. I will use it to enhance  performances.

With Bluebells in the Spring


A couple of months ago I attended a great viewing of some restored visual music films, As well as the wondrous Jordan Belson “Quartet” and Oskar Fischinger works, there was also a mesmerising piece by John Cage in collaboration with Richard Lippold, which documented a Kinetic art sculpture. Whilst viewing these films, especially the silent ones by Belson, I completely lost all sense of time. Though quite short works, In Belson’s work in particular I could see so many different paintings and references, it was amazingly rich and dense and timeless in all senses.

I also recently viewed the fascinating Psychedelia (Reflections from a damaged life) show at Raven Row, which made reference to time, where there were films drawn from a wide spectrum with more work from Jordan Belson, the Otolith Group amongst others and a great Pierre Huyghe light show. Apparently influenced by a Pink Floyd show, it reminded me of the dancefloor at Fabric nightclub, where I had been to the previous night though on a much smaller scale and with Erik Satie rather than throbbing beats. I am also looking at James Whitney’s work, and I have been looking at his groundbreaking early work linking music, senses, shape and colour, whose work is fractal like. Many years ago, I went to a fascinating talk by the composer Robert Sherlaw Johnson about Fractals in sound form and the music of which he wrote and composed. Speaking of composition, just this week, I received some notation of the pieces of Messiaen’s music to which I have worked closely with. I am looking at this notation and tying them with the passages of painting that I remember, looking at the colours, textures and seeing the written notation together is invigorating, and I feel will inspire a new body of works.

Quartet for the End of Time.

Quartet for the End of Time

I am also discovering the incredible groundbreaking and neglected work of the Gutai movement and particularly the work of Atsuko Tanaka and Shiraga Kazou, that continues to fascinate and inspire me at the moment. I see so many resonances from these areas of creating within my own work. Looking at the wonderful catalogue to the recent “Splendid Playground” exhibition, it is eye opening to see how influential and fruitful this work still looks, though much of it being produced so long ago. It is incredible to me that there is only one book translated to English on this amazing movement, and to my knowledge not one big show in Europe on the group….How come??  On a performance theme, I am excited also to hear about the forthcoming Gustav Metzger show, taking place next year at Kettles Yard in Cambridge. His work I believe continues to be greatly potent and relevant today.

One of my favourite Miles Davis works is a minimal piece called ‘It’s about that Time‘  and I was recently given gift the new book of Miles Davis’s paintings, which I had overlooked before, and how wonderful they are to discover as new. I have also been looking/listening to  Oliver Lake and his Trio 3, Lake  both paints and improvises. As always it is at the ‘cusp of improvisation’, where artforms join intersect and divide in that moment of performance, which continues to fascinate me, capturing those all important transitory moments in performance and time.  On what would have been Olivier Messiaen’s 105th birthday, I cant help but think of his great masterpiece Quartet for the End of Time, which I have worked with many times. In this piece its as if one time is created working within another notated time frame.


Trio 3 with Jason Moran.

Oliver Lake Complete recordings

Morton Feldman- Patterns in a Chromatic Field.


Visual Music-Brian Eno.

Gutai -Splendid Playground-

Image, Music Text-Roland Barthes.

Paul Klee Catalogue.

Misrolav Holub. Complete poems.

POSTED: 12/10/13 10:57 PM

The Lingering and Mourning of a Star

Just last month I went to see a terrific and exciting new show of Gilberto Zorio’s work in an elegant space in the centre of London. I found the work revelatory. I loved the participatory and the visionary nature of it and the way in which he uses material in a transformative way. In particular one of his his Star pieces sticks in my mind. It is a shiny aluminium star which has, what appears to be a splash or as I thought, an unwashed wall behind the immaculate and finely produced star.  I was in the midst of pondering on the possibility of lazy decorators in this fine new gallery space, when suddenly the lights went out, light being replaced with fizzing filaments and the sound of electricity. The atmosphere was tense and exciting. Suddenly there was an intense flash of light upon the star and then sudden darkness revealing that the splash was in fact a phosperscent shadow of the star, creating a beautiful afterglow. It reminded me of the Intermingled Afterglow in sound that Peter Hill refers to in the chords in the music of Messiaen.

The following night there was a meteor shower where a similar effect occurred. Spectacular flashes followed by darkness and a memory of what had been seen.

This seemed to all encapsulate and attain a certain power and poignancy for me at this time, after thinking of all the people I have known, so important in my development as a creative being, who have died recently, shining and leaving their lasting impression.  I am, in particular thinking about Mike Stanley currently, who tragically and harrowingly died this time last year. The last time I saw Mike, just after a talk with the artist Haroon Mirza, we talked about Zorio’s work as he was responsible for a show of his at Milton Keynes Gallery a few years back.

Performance, Time.

Performance and Time.

In the last few months I have been working on a suite of drawings and Maquettes in the studio, reflecting on time and on themes of colour, and the Crossing the senses. In particular on small pieces and ‘tableau Vivant’s,’ which relate to certain performances. The window pieces I show here, for instance, extrapolate performance pieces with windows and objects reflecting on the passage of time between the immediacy at the cusp of improvisation, capturing the moment in juxtoposition with the product, with its ultimate legacy and beautiful decay. As with music or a performance, one is left with the recording, a photograph or the pressing of a vinyl and so on, but the performance itself like light passing over a mountain and is fleeting.  I have been looking recently at Jem Finer’s fascinating work , the transitory work of the Gutai group, and Carolee Schneeman’s work which all, amongst other things, beautifully studies and examines time and duration. The other night I saw some beautiful restored films from the Centre of Visual Music by Jordan Belsen at the Tate Modern, which are like cinematic paintings. They are actually quite short films, but when viewing them they seem much much longer, such is their beauty and complexity of the imagery.

Bryce Canyon in Utah.

Bryce Canyon

Whilst in Arizona over the summer, I came upon a beautiful site in an ancient landscape where a Buddhist Stupa had been erected. All around the site were many prayer flags fluttering, in a beautiful state of decay . Here there seemed to be a perfect harmony between the ancient lasting but ever changing landscape and the transitory but lasting nature of being. Most wondrous of all was a moment I had at nightfall at the amphitheatre at Bryce Canyon in Utah. It was the most incredible, spectacular and awesome landscape I have ever seen. As I looked at the colours glowing as the light fell, the beautiful “Unanswered Question” by Charles Ives came into my mind. Unfathomable beauty, which like Zorio’s star and great people, leave an impression which keeps on glowing.


Necks Mindset/Silverfish.

John Coltrane-Interstellar Space/ Ascension

Jason Moran-Artist in Residence.

Andrea Keller-Three Lanes.

Sons of Kemet- Burn.

Impossible Gentlemen- Aliens

Daniel Baremboim- Beethoven Symphony’s
Reading- Seamus Heaney-Seeing Things

Gutai-  Decentering Modernism.

Australian Aboriginal Painting Since 1960-Remembering Forward

Pablo Neruda- Selected Poems.

POSTED: 10/7/13 3:08 PM

Improvisations, Correspondences and the Canyons.

Here are some improvised performance paintings I have become fascinated with in the last months. By looking at these colours, textures and shapes  I can remember the certain shifting chords, and the intense recollections of painting them. Whenever I hear in passing, for instance a bit of Messiaen or Shostakovich, It takes me back in an instance to the exact time and experience of the performance, and at the moment I am collating the passages of music (notation) that they originated from, researching the “correspondences” that the passages of paintings contain. The Colours in some way provide markers for the shifting music. I am returning to the paintings, remembering in the words of the late Michael Stanley, “Its all about Painting”.

Sainsbury Centre Performance Painting

Sainsbury Centre Performance Painting

Walls Of Water Performance Painting

Walls Of Water, Liverpool Met Cathedral Performance Painting

Speaking of improvisation, it was wonderful to hear that Cecil Taylor was awarded the prestigious Kyoto Prize, the first time an improvising musician has ever been awarded one.

There are some great shows on at the moment, which show the contemplation of Correspondences that interest me. At the Venice Biennale there is an Anri Sala installation on work by Ravel. There is a big  Andres Thomkins exhibition on in Lichtenstein at the moment, There is also a great Takesada Matsutani show on in London. His performance “Stream” is beautiful, and also a great source of inspiration for it’s simplicity. The Gutai movement from which he was involved, I am currently researching. In sound,both Ryoji Ikeda and Haroon Mirza have exciting shows on different sides of the globe and there is a fascinating show at Calvert 22 in London about Experimental Music and Art in Eastern Europe, and for Cross sensory Performance work, there is the amazing Mike Kelly retrospective at the Pompidou in Paris.

There is also a huge sensory light show of James Turrel’s on currently at the Gugenheim in New York. The last time I saw his work was at the Gagosian in London, where I nearly broke my ankle, gazing in wonder at colour changes in a restricted space with a gap. Fortunately, I was saved,by a black suited Gagosian bodyguard.  Turrel’s work often reminds me of those mesmerisng Jordan Belsen films, some of his groundbreaking film work can be seen in September at Raven Row Gallery. In Arizona he has acquired the huge Rodan Crater, where one can (from 2014) view light from different angles and perspectives and In the coming months I am setting off, to work in and experience the Vortexes and Canyons of Arizona for myself. In recent weeks I have rediscovered Messiaen’s great masterwork “From the Canyons to the Stars” which derives from the area, which will give me all the strength needed for my own future exhibitions films and performances.

New Reading and Listening.

Listening–Exai- Autechre

Tap-John Zorn/Pat Metheny

Silent Comedy/Big Sur –Bill Frisell

Des canyons aux etoiles/ Coleurs de la Cité Céleste-Olivier Messiaen.

July 2013.

Reading-More Than Meat Joy-Carolee Schneemann

Yves Klein. With the Void, Full Powers

Nocturne -James Attlee

Josef Albers and Wassily Kandinsky: Friends in Exile. A Decade of Correspondence

POSTED: 07/4/13 8:54 AM