The Location of Lines was inspired by the results of the conceptual compositional techniques of painter Sol LeWitt (1928-2007). I was amazed at LeWitt's early conceptual experiments with all drawing that would become his legacy. In several of these pieces, LeWitt prescribed fragile and delicate pencil lines to create a grand, yet understated design that becomes integrated with the architecture of the space. In this way, I have attempted to expand out from a single monophonic line across the orchestra. This line is never stated singularly, but is self-reinforcing and unfolds into orchestra, creating a larger architecture. The soft, understated dynamics, the blurred articulations, and kaleidoscopic harmonic language that is developed by this melodic line is intended to parallel LeWitt's prescriptions in a sonic environment. A sonification of space, here relates to the scale of LeWitt's work; where in scale, visual art becomes a temporal experience itself. The title of this piece is derived by a 1975 series of etchings by LeWitt of the same name (imaged here). This piece was partially written while i was artist in residence at Arts Letter & Numbers, and the Kimmel Harding Nelson Center for the Arts.
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This music is a miracle, perfection. Expansive in its simplicity and beauty. I can return to it again and again, always hearing something different enfolding me. Larry Looney
supported by 5 fans who also own “The Location of Lines”
Ann Southam was one of the great minimalists and Eve Egoyan is a great pianist - and they worked closely together, making this a must-have album. clementkent