As I look back on this journey, it is clear that this research has been much more than an exploration of cross-modal connections between music and visual arts: it has shaped my development as a musician. Throughout the process, I’ve not only gained new insights into the artistic fusion of sound and image, but I’ve also experienced music and its elements in a completely different way. I’ve found new ways to connect with the music, approaching it with a fresh perspective and a deeper sense of awareness. This chapter reflects on my experiences and the personal growth I’ve undergone as a result of this exploration.
Working closely with visual artist Damiano Colombi has opened up a new realm of possibilities for me. Through our collaboration, I’ve experienced music in a way I never had before: visually. It has been fascinating to see how an initial idea of synergy evolved into something real, with my music and sound being translated into moving images through the TouchDesigner software. Both the collaborative process and this visual feedback influenced how I approached my saxophone playing. I became more mindful of the subtle changes in my sound and how they impacted the projections. I found myself adjusting my playing to create a more intricate interplay between sound and image. Suddenly, my breath, my tone, and my dynamics had a direct impact on the visual world. This practice made me more sensitive to the nuances of my own music and pushed me to refine my expressive choices. It was as though I was learning to listen to my music in a completely new way: not just through my ears, but through my eyes as well.
As I continued exploring this synergy, one of the most striking insights I had was how my playing evolved in response to the visual elements. I found myself exaggerating dynamics and pushing the extremes of my vibrato, sometimes playing with a lot of expressivity and other times playing a note without any vibrato at all. I also deliberately extended pauses to give the visuals room to breathe before moving forward with the music. My articulation became more varied as well, contrasting long, flowing legato phrases with short, crisp staccato notes, sometimes pushing the staccato to the shortest note I could produce. This attention to detail allowed the music and visuals to interact in more intentional and meaningful ways. The realisation that my playing could directly shape the digital projections made me more conscious of my expression through the saxophone. Rather than simply playing the notes and rhythms, I found myself engaging in a dialogue with the visuals, striving to bring them into harmony with my music. This new level of awareness shifted my focus entirely onto how I sounded, how I was playing, and the music itself. My performance became deeply rooted in the sound and the intentionality behind it, as I continuously thought about how my sound could influence and interact with the images in real-time.
Another key aspect of this research was the interaction with the painted canvases. The experiments with the canvases also introduced a subtle but powerful shift in my playing. Seeing a painted canvas as a visual companion to my music made me reflect on the static and dynamic elements of a performance. While the projections allowed for a constantly evolving interplay between sound and image, the canvas provided a moment of stillness and permanence that grounded me. It helped me realize how my movements as a musician, whether moving around the canvas or staying behind it, played a key role in shaping the overall experience. Beyond the physical act of moving around the canvas, it became clear that my body movements, whether minimal or expressive, also influenced the music. The choice to remain completely still or to move with the phrasing of the music added another layer of expression, affecting not only the visual perception but also the energy and connection to the music itself. The way I interact with the space, whether through quick shifts or larger, more deliberate movements, plays a significant part in how the music is communicated and perceived. I began to see how my interaction with the static art could influence my performance, adding a new dimension to my musical decisions. It was intriguing to recognize how the visual environment, whether through static art or moving projections, could profoundly impact the way I approached the music.
Throughout the course of this collaboration, I learned invaluable lessons about patience and flexibility. Working so closely with Damiano in a shared creative space required openness, creativity, and the willingness to compromise. We had to be flexible, listening to each other's ideas and finding ways to blend our visions in a way that was both collaborative and effective. There were moments when things didn’t go as planned, and it was easy to become frustrated. However, I learned that these moments of uncertainty were essential for growth. They pushed us to explore new paths and rethink our approach, which ultimately led to richer, more creative outcomes. Embracing the process and remaining open to change became an essential part of the experience. This was a reminder that the creative process is not always straightforward, and that patience, flexibility, and eagerness to experiment and to try new ideas are vital components of any artistic pursuit.
Through this journey, I have also come to understand more about the balance between different artistic disciplines. Combining music and visual arts is not always an easy task, and there were moments when it felt like the two elements were in tension with each other. However, this tension is precisely what makes the collaboration exciting. The challenge of finding a balance between sound and image, and of ensuring that both aspects support and enhance one another, has deepened my understanding of how interdisciplinary collaboration can push the boundaries of each individual discipline.
This project and research has profoundly influenced my way of thinking as a musician. I have learned to embrace new dimensions of expression, to play with the intersection of sound and image, and to engage in collaborations that are personal and transformative. The experience has not only broadened my artistic range but has also deepened my awareness of the music I am playing. I can now approach my saxophone with a newfound appreciation of its ability to shape not just the auditory landscape, but the visual as well. This research has given me the tools and mindset to continue exploring the dynamic relationship between music and visual arts and to approach future collaborations with openness, curiosity, and trust in the creative process.