The Arpeggi studies encapsulate the idea of creating multiple similar sculptural forms, and hanging them on a grid, redolent of a musical stave, in such a way that they somehow resemble a series of rising notes, a kind of visual arpeggio. The grid itself was the result of a huge amount of study into contemporary rhythms, looking at how the analogue and digital can be combined to deliver new forms, that can successfully gel into a singular cohesive image.
As the drawings for the Arpeggi series emerged, I started to work on each of the hanging ‘notes’, and their arrangement within the compositions. As a part of that process, it became apparent that each individual note could in fact also have a life of its own, and hence the Solus studies were editioned. As with many of the smaller works, they seemed ideally suited to pigment printing, as they incorporate a deep, rich, velvety gouache like base colour, onto which the ultra vibrant cores are placed. The vibrancy derives largely from the idea of inverting the tonality of the traditional highlight areas, so that the core of the image is darkened, rather than being burnt out. It’s this simple idea of inverting the tonality that really makes the piece sing I think.