Orchestra rehearsal IV

art, recent work

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timpanist with his instruments; graphite pencil on paper, c. 21 x 15 cms

I was mistaken; I have to re-formulate. This polarity is not about time-and-space matters, the way dancers do it. It’s more like the visible world calling for the invisible. Material bodies of instruments and human beings, interacting to shape the immaterial/imaginary space of music.

Thanks to the orchestra and its various directors for sharing their working process with me.

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cellist with her instrument; graphite pencil on paper, c. 21 x 15 cms

orchestra rehearsal II

art, recent work

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four drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms

Yes, this is very different from drawing (for instance) dancers. While moving art performers interprete a temporal impulse into spatial, thus visible, reality, the orchestra’s performance establishes more of a polarity; the aim of the effort stays the audible field, and yet there is a great deal of ‘bodyness’: gleams of varnish on the violins; the instrumentalist’s physical concentration and coordination of movements in playing; the almost architectural issue of supporting and supported parts when the cello player brings her instrument in a ready-to-start position. And the conductor’s oral instructions helping to bridge the gap… like “trust the fact of getting there softly”… I’ll keep that one.

journey to Stockholm

time-out

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Stockholm underground Aspudden – T-Centralen

Again, this time-and-space issue. I’m going to the Stockholm Concert Hall, to attend a rehearsal. Before, I have been working with dancers and eurythmists; making drawings from performances as well as cooperating in workshops. While sitting on the train, I recall the work we did at the Steiner seminar in January.

(see Archives: space and time drawings I – III)

Trying to catch sight of what’s going on in an orchestra at work – that will be something different, though.

quiet days X

art, recent work

colour exercise; watercolour on paper, 15 x 10,5 cms

Still enjoying the privilege of being able to work in the atelier, now accompanied by Augustine of Hippo “alive, with fiery breath”. And, being a doggy-sitter for some weeks, I take daily walks in a light filtered through autumn leaves.

Constantly awaiting the continuous miracle.

Milo resting; graphite pencil on paper, c. 25 x 30 cms

quiet days IX/time out

art, recent work

Quiet days in the atelier. Also following a course att Uppsala University, I spend an amount of time together with Plato’s Socrates, Thucydides and with my fellow students on the internet. Practising awareness, reflection and the art of dialogue… running out of emerald green and wondering where to get true cinnabar. This one’s for Martin in Chiapas.

Now I’m taking a break, going to Åbo/Turku to meet som fellow nomads and to dance all night.