Synesthesia, visualised music, most accurately describes this cycle. Drawings emerge the moment selected music compositions are heard, the ‘brush’ dancing across the page, recreating the conducting style, subjective and gestural, following much thought and preparation. Using carefully chosen plant stems, the ink is applied, the colourful pages must at times be dried, time passes. The composition is heard multiple times, the individual movements condensed to a mere extract. It is mostly chamber music without human voice (Madrigals being the only exception). The intent, a playful transformation of the musical to a pictorial idea, without claim to musicological importance. The piece and its composer are the title to each drawing, but together, they constitute a kind of Capriccio, the term defined by Girogio Vasari, the deliberate, playful ignoring of rules in Music, art and literature. The imagination takes centre stage, permitting a transgression of academic norms without their lmportance being lost, bowing to artistic willfulness.

While the artist’s character is stamped on each image, they appeal to the beholder to allow his own interpretation. The associations are multiple, mirroring humanity’s broad spectrum. If nothing remains of the music beyond its title, is it then only “used?” But the drawings are open to question without there being a definitive answer, rather they are the expression of the search for recognizable interdependencies in art.