Reverb was inspired by the forest of symbols in Baudelaire’s Correspondences as well as its synaesthetic concepts.
| La Nature est un temple où de vivants piliers|
Laissent parfois sortir de confuses paroles;
L’homme y passe à travers des forêts de symboles
Qui l’observent avec des regards familiers.
| Nature is a temple where living colonnades|
Sometimes let escape confused words;
Man passes among symbolic glades
Which observe him with familiar regards.
| Comme de longs échos qui de loin se confondent|
Dans une ténébreuse et profonde unité,
Vaste comme la nuit et comme la clarté,
Les parfums, les couleurs et les sons se répondent.
| Like dwindling echoes gathered far away|
Into a tenebrous and profound unison,
Vast as the night and as the day,
The scents, the colors, and the sounds meet as one.
| Il est des parfums frais comme des chairs d’enfants,|
Doux comme les hautbois, verts comme les prairies,
–Et d’autres, corrompus, riches et triomphants,
| There are odors as fresh as the skin of an infant,|
Sweet as oboes, green as prairies,
–And others, corrupted, rich, and triumphant,
| Ayant l’expansion des choses infinies,|
Comme l’ambre, le musc, le benjoin, et l’encens,
Qui chantent les transports de l’esprit et des sens.
| Having the expansion of infinite things,|
Like amber, musk, benzoin, and frankincense,
Which sing the ecstasies of the soul and of the senses.
Synaesthesia is a condition in which one type of sensation evokes the sensation of another, as when the hearing of a sound produces the visualization of a color.
Each one of my prints carries a different tune for me, based on its size, its colors, and the marks upon its surface.
When I group them together, the tunes interweave and reverberate.
Reverb is structured much like a musical composition. Each print acts as a movement, using similar palettes, energetic marks, and calligraphic writing as the basic melody with variations in size, paper weight, media, and complexity.
The difference in paper weight in particular created a polyphonic dance as Rondo, the lightest and largest paper, fluttered while the heavier Tranquillo swished and the heaviest print, Courante, swayed with air currents and the movements of passersby.
My hope was to engage viewers in a quiet call and response dance that might spark a greater awareness in the his or her surroundings—the sounds, the air currents, the smells, the colors, the light—which she or he would then carry beyond the exhibition space.