A last hurrah courtesy of The Kick-About No.56 and Sandy Nelson’s percussive powers. My unrequited print and textile brain insists I do something with some of these images (“To the loom with you at once!“), but I lack the skills, stuff and wherewithal to act on these impulses!
Tag: For Drummers Only (2022)
For Drummers Only #6 (2022)
A penultimate set of percussion-derived images for The Kick-About No.56.
For Drummers Only #5 (2022)
A further batch of images produced for The Kick-About No.56, with drums and drumming as their muse.
For Drummers Only #4 (2022)
More Kick-About No.56-inspired images, seeking to visualise the percussive effects of a Sandy Nelson drum-solo. By this point in the process, I was getting some nice effects and was enjoying all the mid 20th-century vibes.
For Drummers Only #3 (2022)
A third set of images produced in response to The Kick-About No.56, and specifically this drum solo by Sandy Nelson. I was trying to create a sense of cymbals being struck and percussive vibrations and much fun was had in my pursuit for the best expression of that idea.
For Drummers Only #2 (2022)
With Sandy Nelson’s 1962 12 minute drum solo as a starting point for our latest Kick-About, I wanted to respond to the divine bash and crash of it with moving images. I had a technique in mind and sense of what I wanted, but couldn’t achieve it, and not for want of trying. That said, I did identify a way to produce imagery that pressed my mid-20th Century buttons and communicated something of the vibration of Nelson’s drum kit.
For Drummers Only #1 (2022)
My immediate response to The Kick-About No.56 was ‘make a film’, so I set about trying to find a means to visualise Sandy Nelson’s percussive effects. I built some simple 2D shapes in the video-editing software and tried to ‘vibrate’ them. I had the image of a cymbal being struck, a disc-shape producing more complex effects due to the persistence of vision. I struggled a bit, because I couldn’t get what my imagination was showing me. That said, during the experiments that led me to give up on the idea of moving image, I began to develop work for which I could muster more enthusiasm – and if not visualisations of sound exactly, than artwork that wouldn’t look too out of place on the front cover of a jazz album. More to come.