LIVE PERFORMANCES

A primary objective in creating Coloratura was exploring the intersections and distinctions between the disciplines of visual arts and music. While these fields often overlap harmoniously, they also diverge in unique ways, particularly in live performances.

Traditionally, live painting is not a common component of a visual artist's repertoire. When it does occur, both the artist and audience focus on the canvas and the emerging image, with the artist typically facing the canvas and having their back to the audience.

As a musician, performing with my back to the audience feels deeply disorienting. I believe live performances offer a magical opportunity to create a dynamic energy exchange between the performer and the audience, an exchange that relies heavily on interpreting each other's body language in real time.

Primarily, I am a musician, and I view Coloratura as an instrument first and an artistic tool second. During the early stages of Coloratura’s development, I struggled to reconcile the differences between visual and performing arts practices in this context: how could I create a live painting experience while maintaining the energy flow between myself and the audience?

The solution became clear, quite literally: I began using clear, conductive glass and plastic as a canvas. This medium allowed me to paint within the electrical constraints of the Coloratura interface while engaging with the audience.

Recently, I’ve begun to layer habotai silk on top of the conductive canvases, as it is thin enough to allow moisture, electricity, and light to pass through, while being less fragile and expensive than conductive glass or plastic.

WATER MARBLING SERIES

The electronic nature of the Coloratura interface requires me to use an electrically conductive material as my canvas, which initially limited my artistic exploration. However, this constraint inspired me to explore new approaches to surface design incorporating water, an inherently conductive element.

I was led to the ancient Japanese art of suminagashi, or "floating ink." This water marbling technique, dating back to the 9th century, involves delicately dipping a pigment-filled brush into a container of water, forming intricate, abstract concentric circles that float on the surface of the water and ebb and flow with its movements.

When the design is complete, it can be transferred to fabric, paper, or almost any porous surface to permanently capture the unique pattern.

Water is a delicate surface, subject to the slightest vibrations, thus, painting on water either requires complete control of the outside environment (sealed windows, no music, no speaking), or complete surrender to said environment. The former results in consistent, replicable works of art, but the latter results in a unique piece of art and a transcendent experience for the artist.

I prefer the latter approach; I embrace the art of suminagashi as a transcendent, meditative practice. I yield wholeheartedly to the flow of the water, letting the vibrational energy of the environment around me dictate the final pattern.

Recently, I’ve begun to add my own vibrational energy to the practice; I sing onto the surface of the water, letting my breath move the pigment around into abstract patterns. In this manner, I am able to incorporate a visual representation of my voice into the final design.

ALUMINUM SERIES

When I first started painting with Coloratura, my canvas of choice was aluminum, as it was accessible, affordable, and reusable. While aluminum was my initial canvas of choice, I soon realized that my artistic exploration could not be confined to a single material.

In my quest to push the boundaries of creativity, I ventured into new realms, exploring the potential of electrically conductive materials, such as clear, conductive glass and plastic. These materials allowed me to engage with the audience while painting, creating a dynamic energy exchange during live performances.

Aluminum was the foundation of my journey with Coloratura; it served as a stepping stone toward broader artistic experimentation. Today, I continue to evolve, embracing a range of surfaces and mediums to bring my artistic visions to life. Each canvas presents its own unique challenges and opportunities, enabling me to push the boundaries of creativity and explore the intersections of visual arts and music in ever-expanding ways.