Once upon a time,
Since 2015, I draw my scores by hand. With the piece 101% mind uploading, I started my research on graphic notation. Since then, I obsessively draw figures, symbols, music signs, sometimes ornaments and pictures. Whatever might be necessary to represent the idea of the piece, whatever it calls for - I immediately draw it on paper.
In this way, my scores communicate the essence of their worlds from the very first glance on them. As the sound world of each piece is different, each score of mine has its own face as well. I don't like to repeat ideas, that's why each time I invent new visual language. In some ways, my scores can be connected, as sometimes I use similar symbols, but, for instance, in such pieces like Life expectancy. Experience #1. The Sun (2016) or ...#2. The Moon (2016), the notational language stays unique.
In some of my recent pieces, like Cositas Diminutas (2017) or Thousand splinters of a human eye (2017), I also worked with paper of different material and transparency, that's why for both of these scores I had to make a special binding. Since then, I incorporate various media, like ink, graphite and charcoal, and also some other techniques, for instance, cutting out paper with the x-acto knife. I very much like the concept of multi-layers in art, both sonically and visually, that is why I also started to reflect it visually in the scores. In these two pieces, for example, several pages can be viewed and should be read at the same time as they represent the same situation that is happening at the same time. Different layers may serve different functions. Usually, I use one of them to place my comments and explanations into the score without making it overloaded with information (as each layer can be easily removed). In this way, I avoid making legends and papyruses in the prefaces of scores as all necessary information is already present on their pages inside. Each page of a multi-layered situation also represents different aspect or emphasis on music and visual situation, so each can be extracted and worked on individually; some of them also may show routes or maps of movements to perform.
I see this multi-layered depiction as a visual polyphony in the score. In this way, I not only write music but also encrypt the meaning behind it and communicate my way and process of thinking and working to musicians, my relation with the piece and its material. I believe, that the scores of my works call for special attitude, personal relation with them as art objects. It has a great impact on musicians' interpretation of my music, it excites their curiosity and opens up their imagination.
The most important reason for me to draw my music is that I find this process of creating scores incredibly inspiring and exciting, and consequently, musicians find them inspiring to work on as well. Giving inspiration and space to dream together is the primary reason to make art for me. Art is about people, art is about making a contact with each single person. And I believe, it matters how we do it. I follow and believe in my own way to make it.
Below, there are several extracts of my scores. To get the entire scores, legends and performance material, please, contact me by email.