The Goldberg Variations have been a source of inspiration for the investigation. The research is part of a wider project that was born some years ago, when I approached The Well Tempered Clavier, BWV 846 (1722), with the idea of visualizing harmonic structures.

 

Every day, I listened to the variations played by Glenn Gould, the second studio version he made in 1981. One of my favorites because of its slowness and a sense of contemplation.

In the Foundation they explained to me how Josef and Anni maintained the tradition of listening on Christmas Eve the Goldberg Variations, and for that reason, the design of the foundation access was based on a musical pattern of one of the variations. A special coincidence.

The nature in Connecticut is strong, we had ice storms. Trees falling in the night. My time coincided with the lunar eclipse that stained the moon on red, the same color of the embers of the every night fire.

The two months went by walking through the forest and working in the studio. Every day I walked around the Foundation lake; since my arrival, it behaved like a living being in a constant transformation, freezing-melting. I was able to skate and walk on it. A white and silent canvas interrupted by the tracks of some animal. I internalized this change process using more water in the mixture with the pigments. And the first problems showed up, the paper was undulating too much, to fix it I nailed pins.

On Anni´s work, I discovered the use of golden threads, reminiscent of the Peruvian ancestral textiles that produced a strong impact on her work. In them, the gold was introduced to catch the sunlight before the existence of electric light. I could not avoid perceiving gold as a space of light. 

 

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