In Score Paintings I explore the decipherability of signs. For each of the three phases of the project, my handwriting is read in three different realms of possible interpretation: semantic, visual, and musical. I begin a Score Painting by layering freeform, spontaneous handwriting writing in oil paint on canvas that I frequently rotate as I work. As the writing overlaps and enmeshes, without orientation, the painting begins to convey visual rather than textual information. I then read for images in the composite layers of text, like seeing pictures in clouds, and paint the evoked images with highlights and shadows. To continue the reading into the sonic realm, I invited eight international musicians and sound engineers to read, play, and record one painting as a musical score. Each musician must create a system in order to read the painting, determine its sound, and play the composition in adherence to their system. Collaborators include contemporary composer-theorists, a sonic forensics technician, and musicians in rock, contemporary classical, and digital/electronica.

Score might be read in the forms, colors, and/or textures of the painting. Every basic element of music is open to creative, systematic interpretation providing that it allows the painting to be played from its physical features. Each musician’s approach is unique; some include software development and digital procedures, and others read the canvas visually as if it were a paper score.

Recorded compositions will play in an installation of all eight paintings.