The basic structure that I use for the creation of my graphic scores is taken from my musical repertoire. These scores correspond, first of all, to an identified and existing musical form. The work of creation then entails translating the initial writing composition into a visual abstraction, which although it keeps a printed trace of its sound origin, gradually develops, according to the elements that I add to it, to embody an autonomous language that is not musically referenced. In an intuitive manner, I generate new connections between the different elements, add new ones until the scores find their full autonomy and become pure poetic expression. In the end, these scores map the phenomena of the complexification of «sound» writing into graphic art création.
If my scores resonate musically within me, they are not intended to be interpreted later, nor to be deciphered by other musicians. The heart of this project is indeed to develop partitions that escape any system. To nourish the ambiguous identity between a musical notation signature and an abstract pictorial one. I keep some codes specific to musical notation such as reading from left to right and drawing lines. However, these codes are markers that serve to orient, only to be better subverted later. My goal is that the complexity of writing is such that the content becomes opaque and indecipherable. The function of this illegibility of writing is to reveal more acutely its poetic potential and to lead to a form of “abstract radicalism”.
This series of “sound mappings” refers to the interplay of layers and the organic evolution of sounds, printed in a multiplicity of pure and “musically graphic” expressions. The scores I create are also intended to express my artistic intuition, where musical sensibilities and pictorial research vibrate together and in correspondence.
Graphic scores (large format)
Indian ink, ink, acrylic, spray paint, inkjet printing, felt pen, white charcoal.
On architect paper & Museo sliver rag free acide cardboard 24″ x 96″ (2ft x 8ft)
Graphic scores (medium format)
Indian ink, ink, acrylic, inkjet printing, felt pen, white charcoal.
On Lung Cu’s LôLô (or Yi) ethnic minority handmade paper (Ha Giang, North Vietnam). 11″ x 24″
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