A Quote by Stephen Hough
The piano is an instrument that can easily sound overly thick, and I love to think that I can work with textures - particularly the inner textures inside the melody or the bass line. There is an analogy there with painting; I love paintings where you see colour underneath the colour and, underneath that, more texture and shape.
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A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
To know yourself as the Being underneath the thinker, the stillness underneath the mental noise, the love and joy underneath the pain, is freedom, salvation, enlightenment.
I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.
I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.
I studied shades, textures by painting after the Old Masters, the classical European paintings, as part of my educational process.
I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
The people at Dylan's Candy Bar, they have to have an inner child and a sense of fun... and love the colors and the textures.
I love getting amazing jackets, because you can wear your pajamas underneath and everyone's like, 'Oh fabulous jacket', and I'm like, 'You should see what's underneath'.
I love getting amazing jackets, because you can wear your pajamas underneath and everyone's like, 'Oh, fabulous jacket,' and I'm like, 'You should see what's underneath!'
I practice wearapy: it is a psychology between colour and texture. Take your emotions - what is it that you want to accomplish for the rest of the day? Pick that feeling and channel it into a colour.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
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