This installation was a first sketch into my visual research¹ on the multiple relationships between music and the visual arts, inspired by my grandfather and my father and meant as a tribute to them and all the other musicians and music researchers who have shaped me into who I am today: Mayer, Cardew, and many more.

The work was tackled through very analytical and measured methods, modeling symmetrically and mathematically – much like when music composing or instrument manufacturing – in order to build a set of several pentagrams which represent the process of matching sounds simultaneously and successively with order, balance and proportion in time.

It was a first shot of many to come into translating fundamental elements of music and music notation (pitch, duration, timbre, volume, intensity, rhythm…) into something visual, whilst experimenting with sound and vibration and how they spread different materials and surfaces.
Most importantly, the production of this project led to the awakening of many long-forgotten senses, unexpectedly becoming a tool to dig deeper into synesthesia and other more visceral approaches to my experience of music itself.

When installed outdoors the contact microphones amplify and record the sound and vibration of the plaster leaves against the cupper strings as they are moved by the wind and/or manipulated by other ambient factors.

¹ Find the theoretical research in my self-edited book Musikalische Grafik. Die Beziehung(en) zwischwen Musiknotation und den bildenden Künsten at the KHB library, the Old Biscuit Factory in London, the Leipziger Buchmesse 2020 in Leipzig, and more locations to come.