A-frame houses are nestled comfortably behind shrubbery in greens and reds and purples and yellows. Windows of sky blue panes suggest more stylish solar panels than views out. The choice of salmon pink for the facades is fanciful, mostly involved in a gentle mix with foreground greens and blooms.
The audio track by Dan Goldstein offers a gentle nature ambience of chirping bird and croaking frog. Layered upon this, and a subtly tripping bassline, a relaxed flute sings a happy song of harmony between house and tree.
Prints of the painting are available. Please drop a line if interested to firstname.lastname@example.org.
How can we best describe, or animate, with music the outline of a horse in a red nebula? Well, if that horse is formed by a cloud of red gas and dust, and appears to be galloping ahead, we might suggest an active plucked synth, heavy on the delay and reverb, to give both the sense of energetic motion and also of space ambience. But Composer Promenade2239 provides us with more than an energetic ambience for artist Rafael Kempter’s red horsehead nebula. His music also emphasizes depth in the painting. His audio panning left and right, forward and back, resonates with the bright bursts of white and blue, close to us on the canvas. Then again, distant audio echoes draw us to small white star patches, placed further back in the painting. The music adds a sense of mystery and of dimension to the visual work. It heightens our awe at the formation of recognizable imagery, in this case the horsehead, in what we might think of as random formations in space.
Prints and greeting cards with the horsehead nebula rendering are available.
If interested, drop a line to email@example.com
Artist and composer Elize Kaisserlidou presents an abstract in soft pastels – washes of digital color over a nature photograph of foliage. Greens, reds, pinks, blue-grays, create a thin veneer over branches and leaves. The pastel abstract which results preserves the sense of experiencing nature – but it is an experience as much felt as visually perceived. For the foliage itself has become abstracted through the swashes of color which partially cover and surround.
Just what makes Elize’ treatment of the image so appealing? How does she achieve an effect so fluid, so soothing? It is in Elize’ accompanying audio that some clues lie. In the soft rounded tones of the synth pad we see some sonic analogy to the gently undulating digital brush strokes, especially in the right section of the image. The unaccented harp tones seem to bear some relationship to the understated tones of the pastels. The audio encourages a bit of daydreaming, as does the image. It creates an ambience which resonates with the reflective, dreamlike effect of the artist’s colors.
The audio is brief and leaves us wanting more. So we linger on the image, creating our own personal melody of associations, thoughts and fantasies.
We are grateful for both musical and visual contributions to the site by Elize Kaisserlidou. We hope you will explore her other contributions on the site through her artist profile.
Color Prints of White Dreams are available. Drop me a line at firstname.lastname@example.org.
Composer and artist Elize Kaisser presents her green abstract, ‘AbstractLovgreen’. What is it about the paintings of composers that might be considered uniquely related to the fact of their being composers? Quite possibly nothing, but speculation on the question makes for a great blog post.
A look at composer Elize Kaisser’s green abstract offers an opportunity to theorize on the question of uniqueness in the visual creations of musical composers. Elize chooses just a few colors for her digital painting – greens, browns, yellows. The green colors the general canvas in the same way that a synth pad frequently provides the general background or ambience in many tracks. And even as that synth pad subtly morphs, so do Elize’s greens morph into green-yellows and even green-blues. What about Elize’ brown bits then? The lines and patches of brown are applied to the canvas as a solo instrument over the foundational synth pad. And as a solo tells the musical story, creates the dramatic narrative, so these applications of brown seem in motion. They wave up and down.
This sense of motion in Elize’ painting is subtle. The brown may not immediately suggest to us the energy of movement. But our artist is also our composer, and she gives us a little sonic push towards a livelier interpretation of the art. Her music is upbeat, even a little jazzy. It encourages us to look for the light in this painting. It encourages us to connect with active energy in the painting.
We are happy to offer a large card size print of AbstractLovgreen. Don’t forget that USA shipping is always free!
When we contemplate artist Karsten Thole’s ravine painting, we experience a subtle form of abstraction even as the figures are recognizable. The abstraction is mostly in color choices. If not for blue trees, trees would be more recognizable as such. But that they are blue allows them to be something else in addition. They are walls. They are monsters. They are tall gates guarded vigilantly against those who deserve not the light at the end of the journey, on the other side.
And really the painting seems mostly about that light. The facts of riverbed and shorelines and arboreal canopies are secondary. They form a conduit, a funnel, a passage to our goal. Karsten’s color scheme, mostly a wash of purples and blues, guides our focus to the function over the form.
Composer Klandestyne’s audio track provides both ambient and narrative elements. The composer asked if drums should be scratched to allow the track to stand on purely ambient legs. But it is precisely the energy of the snare which propels us into the painting and engages us in the adventure, the journey toward the light.
Sanssouci Park is a large park surrounding Sanssouci Palace in Potsdam, Germany. Included in the park is a baroque flower garden with lawns, flower beds, hedges and trees. It is within this park that we find the Sanssouci Statue, the subject of artist ViVaDa’s ghostly watercolor.
Really, the initial impression is not of a statue but of an apparition moving slowly forward, past the brushstrokes of red and purple which are the gardens tulips and lilacs. Danke’s track creates a mood of foreboding, suggests grave intent. Unfinished business must be put to rest, even so this ghost can find repose. There is a tension between the all white statue and the floral abstraction at his feet. The blooms push back. They say, “Cease this mission of revenge. Are we not beautiful? Is it not enough for you this gift of an eternity surrounded by nature’s annual rebirth?”
The second section of Danke’s track offers the statue’s reply. “No – I must press forward. I am not with you. I am alone. That is my curse. I cannot accept your gift. I cannot forgive.”
It seems entirely appropriate that our painting is blurry. It speaks to the tension of an offer of beauty and peace tragically spurned.
In this fish still life by Mexican artist Uriel Agustin, a pair of carp float upside down next to a ganglion of kelp. The wide open eye which each fish presents defies our supposition that the creatures are dead. Anyway, it is much more fun to ascribe some playful characteristics to our fish pair – they must be practicing their backstroke!
It is not our well wishes for the fish alone that suggest some possibility that they live and move ahead in their unlikely position. The artist’s left pointing half oval of silver border seems also to convey a sense of motion, or potential motion leftward.
The midisparks atonal audio track, however, really seems about the state of floating. The ethereal harplines succeed in setting us deep below the ocean’s surface, with a consequent state of disorientation. Perhaps the dreamlike, otherworldly mood of the audio makes possible a projection of our selves into these fish – we float in an ambiguous state between dream and wake, life and death.
We are fortunate to present this work of the talented Mexican artist and biologist Uriel Agustin. Prints are available and please inquire.