Going to Rome Series
Artist Statement: Color and Sound







A teen in the ‘60’s and interested in visual art that centered on feelings, I found a book on the Russian painter, Wassily Kandinsky. Much later I found Kandinsky’s own book, The Art of Spiritual Harmony that appeared first in 1914.

Through the years my work has consistently been inspired by form and color in the abstract, often and predominately painted in a range of whites and dark indigo blues. Recently I bought the book Theme & Improvisation: Kandinsky & the American Avant-Garde, 1912-1950, because I wanted to expand on my themes with freer gestures and brighter colors, approach the canvas or paper in terms of sound, a painting theory that was Kandinsky’s in a time when he and his work were turned from and ridiculed as being of no value by most art critics, save for a while the photographer, Alfred Stieglitz and several artists and art critics in Chicago.

One New York Times reporter gave particular attention to Kandinsky, when he claimed: “The keynote of the entire modern movement is found in the first sentence of Kandinsky’s book, The Art of Spiritual Harmony, ‘Every work of art is the child of its own times.’” He had, for purposes of his own, broken down the barrier between music and painting:

In music a light blue is like a flute, a darker blue a ‘cello, a still darker a
thunderous double bass; and the darkest blue of all—an organ….color is a power
which directly influences the soul. Color is the keyboard, the eyes are the
hammers, the soul is the piano with many strings. The artist is the hand which
plays, touching one key or another, to cause vibrations of the soul.

So began this series.


“In this way the light penetrates, colors stain us through.”

John Tarrant, The Light Inside the Dark

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