3.1 Collaborative process
A single phone call was all it took to bring the Venice-based artist Damiano on board. From the start Damiano supported me in this passion-project, and we soon realised that we shared an ambitious goal: to merge our two disciplines into a harmonious flow that would create a unique and integrated work. This ambition naturally brought challenges. Combining two distinct art forms, each with its own language and expressive possibilities, requires a careful approach and constant adjustments to achieve a balanced synergy.
We faced questions about how best to represent sounds through colour, form, and movement and, at the same time, how to shape the music that would be enhanced and enriched by visual elements.
What quickly became clear was the fact that, in this interdisciplinary project, we wanted to create something unique, but above all, something aesthetically appealing. Furthermore, since Damiano and I are not synesthetes, any potential links between certain colours and musical notes were artistic choices, chosen subjectively and personally.
In addition, all of our correlations were incorporated from the beginning into a concert setting, meaning we always kept in mind that this should work in a performance context and that an audience would be present. So, it’s reasonable to mention that some initial ideas were not very practical. However, that is all part of the artistic and experimental process.
3.2 Evolution of ideas: from abstract concepts to practical choices
Our creative process started with a variety of ideas, as both of us brought concepts and inspirations to the table. However, as the project developed, we had to refine these ideas into practical, achievable choices.
Initially, the main focus of the synergy between art and music was focused on creating a stage setting/design with various pre-painted canvases. These canvases would vary in size and, most importantly, in transparency, because the idea would be to play with this transparency to create an illusion for the audience, blending music and art. Moreover, at the very front edge of the stage, there would be a transparent, unpainted canvas hanging from the ceiling, acting like a transparent stage curtain. During the performance, Damiano could step in and paint live on this transparent curtain, creating an interplay between music, pre-painted canvases, and live onstage painting. This was also the moment when Damiano created the first sketch of a possible stage design.
While searching for the material for this special stage curtain, it quickly became clear that this fantastic idea would be challenging to execute in practice. On the one hand, due to the cost of the material (since this specific material would be quite expensive in large quantities) and, on the other hand, due to practical challenges, as it would definitely not be easy to hang this special transparent stage curtain. Additionally, it is simply too inflexible and difficult to apply in most performance venues. So, we abandoned the idea of a transparent stage curtain. However, we concluded that the stage setting would still consist of canvases of various sizes and possibly of different transparencies.
We continued exploring ways to incorporate transparency into the stage setting until, one day, I was inspired by a “frame structure” used at the university itself. The ground floor of the Amare building, which also houses the university, is often used for various events and exhibitions. This time, it was set up as a playground for children, aimed at introducing them to art and music. And that’s when I discovered it: a movable, transparent plastic frame on wheels that children could paint on.
This moment was especially significant, as it reminded me of the importance of being deeply attuned to one's surroundings in artistic research. Often, the most valuable insights are hidden in the everyday details we tend to overlook.
After discussing and exchanging ideas with Damiano about the frame structure, we eventually came up with a new concept for the stage design: on one side, we would present pre-painted canvases of various sizes, while on the other, we could use "canvases" made of plexiglass. We chose this material because, firstly, it is affordable, and secondly, it is relatively easy to transport. The plexiglass canvases could then be painted during the performance.
This was also the turning point when another key element of our project came into play. By chance, Damiano discovered a software called TouchDesigner, a powerful tool that allows the creation of a wide range of digital experiences. This complex software can simulate three-dimensional structures, bring them to life, and generate sophisticated designs that can shift and transform in response to external stimuli. From this, a bold idea emerged: to somehow represent the sound of the saxophone, specifically, to create a structure in TouchDesigner that could be dynamically transformed by the saxophone’s sound. This "discovery" was an incredible boost of motivation, as it promised the potential for an extraordinary fusion of digital art and music.
3.3 Collaboration across distance: virtual and in-person sessions
Another aspect worth mentioning is that, while Damiano is based in Venice and I am based in The Hague, our collaboration has involved both online and in-person meetings. We regularly connected online to exchange ideas and provide feedback on each other’s thoughts and suggestions. During holidays and the summer break (July & August 2024), we held intensive in-person sessions. These live meetings were invaluable for brainstorming and exploring new ideas, as we immersed ourselves in both music and visual arts. Together, we analyzed works from each domain, seeking fresh inspiration and exploring how different forms and sounds could merge within our project.
3.3.1 Experimenting with a plexiglass - canvas
Finally, the long-awaited first live session arrived, where we could collaborate in person. Despite the good preparation work we had done online, it was a truly rewarding experience to sit together at the same table, brainstorm intensively, find solutions, and, most importantly, test ideas in practice.
The first element on our to-do list was experimenting with plexiglass as a canvas. The material had already been bought in advance and for the painting Damiano used acrylic paints on this smooth surface. The aim of this experiment was to test the practicality of the idea, particularly considering that during the performance, live painting would take place on the plexiglass canvases. The concept behind this was that I, as the musician, could stand behind such a plexiglass canvas, and as the piece progressed, Damiano could paint on it in a way that the colours would gradually blur me, offering the audience a new perspective on the music.
Musically, I decided to use the entire Sonate en Ut# by Fernande Decruck for this experiment. The idea was to work with a piece that offers a variety of musical elements while maintaining a consistent aesthetic over an extended period: an important consideration, as live painting requires time to evolve. We also kept in mind that this piece is originally for saxophone and piano, and while we were currently focusing on the interaction between myself and the transparent canvas, we considered that incorporating multiple plexiglass panels in a actual performance setting could still work well, even with a piano on stage. For now, however, the emphasis remained on me as a saxophonist and on my stage presence, exploring how movement, sound, and live painting could interact through this unique medium.
I stood behind the clear plexiglass, not only playing but also consciously experimenting with movement. Damiano, inspired by the sound and my musical interpretation, painted in response. This interaction created a fascinating experience: at the beginning, when there was no paint on the plexiglass, it felt as if I was playing directly on the surface itself. But as the paint was applied, the texture seemed to change. I was no longer just behind the plexiglass, but also behind layers of colour, which gradually altered my presence from the audience’s perspective.
Of course, this was an exploratory setting, so we paused at times to discuss, adjusting different elements and experimenting with my positioning. We tested various angles and distances, observing how my presence, movement, and the evolving visual layer interacted with the sound.
The result of this experiment was certainly intriguing, brilliant in some aspects yet challenging in others. The interplay between transparency and opacity worked particularly well, as multiple layers of paint effectively reduced, if not entirely eliminated, the transparency of the plexiglass. This created a fascinating visual transformation, reinforcing the concept of gradually obscuring my presence on stage. However, it soon became clear that while acrylic paints are easy to apply and have a relatively short drying time compared to other mediums, they would not dry quickly enough for real-time painting during a performance. Additionally, this painting attempt posed an interesting challenge for Damiano, because it did not match with his usual painting technique. Damiano’s art is highly detailed and abstract, requiring a lot of patience and thorough work. Often, he spends hours waiting for the underlying layers of paint to dry before making the next brushstroke. From the start, he knew this would be different for a real-time painting, nevertheless, he wanted to give this idea a chance. Despite the great potential of playing with transparency and the convenience and portability of the material, we ultimately decided to move away from this concept and, with regret, abandoned the idea of the plexiglass canvas.
3.3.2 Experimenting with TouchDesigner
The next exciting experiment was the first attempt to find out whether the innovative idea of combining the TouchDesigner software with saxophone sound would work. Damiano had already prepared an artistic scene in advance, where small dots/particles are generated when the input source, in this case the computer, detects a sound or noise. He had already tried it with singing, and he told me it seemed to work well. The moment before I played into the computer for the first time was truly thrilling: a mix of curiosity, excitement, and uncertainty. How would the program react to my saxophone sound? Would it even react, and if so, how exactly?
The idea that my instrument could not only create sound but also shape a visual world in real-time was fascinating. As soon as I produced my first note, the digital particles on the screen began to move. The artistic scene prepared by Damiano instantly came to life. It felt as if I was shaping the visuals with my breath! This was an entirely new experience for me: not only was I engaging with my instrument through sound, but I could now rely on both my ears and my eyes, combining auditory and visual perception. The immediate visual feedback made me instinctively adjust my playing, exploring how different articulations, dynamics, and timbres influenced the evolving digital landscape.
At first, I played freely, improvising melodies to get a sense of how the system reacted. However, I quickly found myself breaking things down into simpler elements, isolating specific dynamics, articulations, and tonal variations, to better understand how the program translated them into movement. From there, I began applying actual compositions to structure the ongoing experimentation, moving beyond free improvisation to see how the visuals would respond to more defined musical material. The first piece I selected was Improvisation 1 by Ryo Noda, which is rich in dynamic shifts, accents, trills (both normal and timbral), and various other musical elements. This made it an ideal choice for observing how the program reacted to contrasting musical gestures. It was particularly fascinating to see how the particles already adapted quite well to changes in dynamics. Naturally, I immediately tried to play as softly as possible to explore the threshold at which the program would still detect and respond to my sound.
Later, I also incorporated excerpts from Fernande Decruck’s Sonate en Ut#, focusing on its more lyrical lines. It was fascinating to see how beautifully the shapes danced and moved in response to my sound: especially with the long legato phrases, which provided a continuous stream of input for the program to interpret. The flowing nature of the piece seemed to create an especially rich and dynamic visual effect. We kept in mind that this piece would likely behave differently in an actual performance setting with a piano, as the piano would also influence the visuals. For now, though, it was an excellent choice of piece for experimenting, as it contains a rich variety of timbres and musical colours to explore. Additionally, its expressive phrasing and seamless transitions between different registers of the saxophone offered a valuable opportunity to examine how lyrical playing could shape and interact with the digital art.
This experiment marked only the first steps in our journey of exploration. Yet, even in these early stages, it was clear that TouchDesigner held enormous potential. We soon realized that the program could be calibrated more precisely for the saxophone, refining the way it interpreted musical input. From that moment on, we set ourselves the goal of emphasizing different musical parameters, such as dynamics, articulation, and frequency range, by deepening the connection between sound and visual art.
3.4 Exploring balance in artistic collaboration
At the end of this first intensive exchange and collaborative experimentation, we realized that the synergy we are aiming for is truly something special and that we were on the right path. Furthermore, we recognized how valuable our collaboration is, working together to create a truly interdisciplinary final product. As mentioned, it was essential to us that one discipline doesn’t overshadow the other. But how does one find that balanced harmony? Is it even possible to achieve that balance for the audience?
I believe this question can only be answered subjectively, and that finding a truly objective balance is likely impossible. However, that isn’t our goal. Our aim is to build on knowledge of correlations and past studies to create a unique and aesthetically compelling synergy for ourselves. The balance between the two art forms isn’t necessarily about the final product alone, but rather about the ongoing dialogue between us as artists. It is an evolving process, one that requires intuition, trust, and an openness to experimentation.
We strive for an authentic balance between the two entities involved, listening to each other, accepting and adapting each other’s ideas, making compromises, and at times standing by our own creative instincts. This thoughtful and dynamic approach is what Damiano as an artist and I as a musician have embraced in our search for harmony between the disciplines. Ultimately, balance is not something we can simply define or measure; rather, it is something we must continuously shape and refine through our collaboration.