Let’s talk about your upcoming show Symphony of Systematic Minimalism. It was stated that this show ” explores the relationship between visual art and music “. How did you go about conveying this concept in your artworks?
I guess as a music maker for the past 20 years in various guises, I just felt it was about time I connected those two worlds into one. I have never done it before. This is pretty much the first time I’ve ever done that so I wanted to do it in a big fashion.
The paintings are also all very large scale. The biggest I’ve done for a solo show yet. So that relationship is really brought to life with both painting and sound here. The paintings also have a fluidity. I began layering them with transparencies, kind of like how you layer tracks in Logic Audio. There’s a similar process there so that really helped make the paintings relate.
Was there a specific genre of music that you listened to during your painting process for this series? How important is finding the right type of music to get your creativity going?
I was listening to a lot of new music actually… The new Bonobo album, The Swet Shop Boys – Cashmere was on repeat all the time too. I was also looping some of the sketches of the tracks I was working on for the album. They all sound quite different now that they’re actually finished and mixed etc. Amazing the journey a piece of music can take from a simple drum loop to a finalised song. I was trying to listen to a diverse cross section of music all the time as it helps inform you in different ways. Here’s a few other albums and mixes I was listening to; 4X4 Tracktor mix by Augustine Kofie, Emmaar – Tinariwen, Law – Cougar, David Axelrod, Vestiges & Claws – José Gonzalez, Welcome to the Afterfuture – Mike Ladd, Blond – Frank Ocean, Nevermen – Nevermen. So yeah, pretty diverse…