My search goes further. Inspired by Mariage d’amour, written by the French composer Paul de Senneville in 1978, I wanted to give body to this piece.
Music can be heard or perceived and felt. What is listening, and what is it like to feel the music? What does it mean to look or see and feel? Are these the same things to perceive, see and feel?
Listening and watching are superficial, flat concepts. It is an external perception process without any sensations and analysis. It is like a flat painting, which claims to be the original, but it is a copy of reality. As soon as you try to feel and perceive, the second face opens. Subtle and high notes keep the main theme. Blue, light, weightless, playful. They are flourishing in bliss on the basis of stability and firmness. Dark shadows are support and base for the whole composition. The blue vibrating melody breathes and exists now. It can be reviewed endlessly, it is always new. Light enters the gaps and dissolves along with colour and sensation.
Technically speaking, this work just evolved on its own. I am in love with this piece, but I mistakenly thought it was Chopin's music. When the work became a different title, a sculptural piece and painting simply merged. It's like yin and yang. Man and woman. Love marriage (fr. Mariage d'amour). When I painted with oil, it was a pleasure. I have not used it for probably about six months. But of course, I notice that there is no realism. And I deliberately did not refine the painting to make it more similar. It is a painting, which means oil on a canvas. Why make something out of it that it should not be. But even so, the rich play of colours attracts attention, whereas the "sculptural work" has a limited pallet. Because it changes its colour depending on the light in the room.
Here communication of two surfaces, flat and embossed, takes place. When viewed from afar, these two works merge and become a single whole, while close up, they are two different things.
I noticed that the videos of these works and my camera movements fall into the rhythm of the music and, as it were, connect with it.
During the exposure, I would supplement the work with another screen. The passage of time will be conveyed through a video of this onsite exposure. Such a representation is a dialogue between different media (Video, sculpture and painting) and perception of colour, space and time.