Paul Walde: Imaginary Landscapes
MKG127 is thrilled to present Imaginary Landscapes, an exhibition featuring two recent bodies of work by Victoria-based artist Paul Walde.
In Walde鈥檚 Water Music (2022-23), a grid formation of whole notes printed on a metal panel is submerged in the Pacific Ocean and photographed as the tide comes in. Incoming waves and the resulting optical distortions multiply, resize, and reposition the notes to auto-generate a new musical composition when overlaid onto a standard music staff.
These photographic prints are exhibited alongside Walde鈥檚 Imaginary Landscape Paintings (2012-2023), a series of painted interpretations of American composer John Cage鈥檚 Imaginary Landscape compositions (1939-1952). In 2012, Walde began to collect every version of these works he could find鈥� spanning YouTube posts of excerpts of professional recordings, student performances, and amateur renditions. Each painting was then made on a panel constructed in size relating to the duration of the corresponding recording with white oil paint representing silence, and marks made in response and consideration to frequency, amplitude, and duration of sound.
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MKG127 is thrilled to present Imaginary Landscapes, an exhibition featuring two recent bodies of work by Victoria-based artist Paul Walde.
In Walde鈥檚 Water Music (2022-23), a grid formation of whole notes printed on a metal panel is submerged in the Pacific Ocean and photographed as the tide comes in. Incoming waves and the resulting optical distortions multiply, resize, and reposition the notes to auto-generate a new musical composition when overlaid onto a standard music staff.
These photographic prints are exhibited alongside Walde鈥檚 Imaginary Landscape Paintings (2012-2023), a series of painted interpretations of American composer John Cage鈥檚 Imaginary Landscape compositions (1939-1952). In 2012, Walde began to collect every version of these works he could find鈥� spanning YouTube posts of excerpts of professional recordings, student performances, and amateur renditions. Each painting was then made on a panel constructed in size relating to the duration of the corresponding recording with white oil paint representing silence, and marks made in response and consideration to frequency, amplitude, and duration of sound.
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