Art & Exhibitions
A gallery has its own rules. There is no timeline to follow.
The music has to work whenever someone walks in, and in whatever order they encounter the work.
I've written music that becomes part of the artwork itself — including a score that recombines for each viewer, and a piece created from a painting on an Ondes Martenot. I've also scored films about artists and their work.
100 Tage Regenwetter
A video installation of a hundred animated scenes, seen by one person at a time in an order generated anew for every viewing. The score works the same way, so every viewing produces harmonies the last one didn't.
Picture in Motion
What does a painting sound like? For Ulrike Flaig's installation Picture in Motion – Hommage an A. Fleischmann (2017), the answer came from Adolf Fleischmann's Opus #19 (1954) itself. Its black planes, angles and horizontal lines were read as a score. I brought in the Ondes Martenot, an early electronic instrument I introduced Ulrike to, and turned that score into sound. I layered voice upon voice, each with its own timbre, so the painting could play itself. The result is less a composition than a translation: Fleischmann's brushwork, heard through the unstable, shimmering tone of the Martenot.
Chemins de Traverses
Music for an animated presentation of the photographer Franz Brück's exhibition catalog, animated by Melanie Mussegg.
Sneak Preview
Lebensgier und Bitterkeit — Der Maler Helmut Kolle
A film portrait of the painter Helmut Kolle (1899–1931), the only German painter shown repeatedly in Paris between the wars. Shot among the paintings of collector Hartwig Garnerus, the film shows more than thirty of Kolle's major works.