Dot, Point, Loop, Ripple doesn’t necessarily have any describable meaning. The piece, much like music itself, is designed to evoke a feeling of the abstract. The initial idea for the piece occurred to me while browsing the 1960s abstract art section of The Stedelijk Museum in Amsterdam. I was impressed by the apparent ‘coolness’ of the color palette and line work in these designs, which often included lime green polka dots, spirals, and psychedelic swirls.
Like the art, I wanted the piece to be mathematical in its precision; however, instead of line
work, the precision is found in the timing of the music, which is strictly synchronized to fixed media.
Like all my music, there is a strong influence from both the classical past and the extreme contemporary. In this case, I was considering the music of Bach’s Brandenburg Concertos mixed with modern experimental hip-hop artists such as Flying Lotus. The work ends with
a surreal wave of what I imagine as an abstract ocean of flying objects. It’s always wonderful to hear your compositions performed live by musicians, and in this instance, it’s a joy to hear that the piece works brilliantly.
I would like to thank Gabriel Mcmahon for commissioning me to write this piece and
performing it with brilliant virtuosity alongside Adrian Soares, Elena Wittkuhn and
Charlotte Greenaway.