Gman and Keeney: Music

Studio Montage

(Gman Blues)

2006-12-07

Technology has made this art form accessible to the artist; a work like this would have been impossible in the analog days. Digital imaging is the glue that binds these fragments together. Gary "gman" Wesselhoff

I made my first mosaic when I was about SIX. It was a mosaic tile portrait of Emmet Kelly the Clown. My mother hung up that porcelin portrait with pride for many years. I was proud then as I am now. This time I think I really got it right.

It is interesting to hear bits of songs and tracks woven together and out of context with their indended compostions.

This is a work in progress; sometimes at the end of a session I will spin this and shuttle "song toys" in and out of the piece.

Many times while I'm in the car, I'll need to hear this song; don't know why though.

I've been working on the piece for quite a while now. Although it sounds like a free-form abstraction, the process involves exhaustive testing of each track bit, and finally fitting it into the puzzle.

I consider this work an aural mosaic, perhaps like one of those photo compositions that are made from tiny composite photos. Technology has made this art form accessible to the artist; a work like this would have been impossible in the analog days. Digital imaging is the glue that binds these fragments together.

This work is continually evolving; something about it keeps me mesmerized--the synergy of textures, tones, and musical colors.

As far as an artistic easel is concerned I use four points of reference, left/right, and near/far. In addition to that I use the digital tools of equalization, and phase ambience to add a surrealistic dimension.

It is a free-form sounding piece and excites the mind and stimulates the imagination--well it does for me at least...