Almost Human

Martin Klimas - Miles Davis, “Pharaoh’s Dance,” from “Bitches Brew”

Like a 3-D take on Jackson Pollock, the latest work by the artist Martin Klimas begins with splatters of paint in fuchsia, teal and lime green, positioned on a scrim over the diaphragm of a speaker. Then the volume is turned up. For each image, Klimas selects music — typically something dynamic and percussive, like Karlheinz Stockhausen, Miles Davis or Kraftwerk — and the vibration of the speaker sends the paint aloft in patterns that reveal themselves through the lens of his Hasselblad. Klimas rose  to prominence in the art world four years ago for a series of photos that captured porcelain figurines just as they shattered. For this series, Klimas spent six months and about 1,000 shots to produce the final images from his studio in Düsseldorf, Germany. In addition to the obvious debt owed to abstract expressionism, Klimas says his major influence was Hans Jenny, the father of cymatics, the study of wave phenomena. The resulting images are Klimas’s attempt to answer the question “What does music look like?”

AVERAGE AMOUNT OF PAINT USED PER SHOT: 6 OUNCES
TOTAL AMOUNT OF PAINT USED ON THE PROJECT: 18.5 GALLONS
FINAL NUMBER OF IMAGES PRINTED: 212
SHUTTER SPEED: 1/7,000TH OF A SECOND
NUMBER OF BLOWN SPEAKERS: 2

Martin Klimas - Miles Davis, “Pharaoh’s Dance,” from “Bitches Brew”

Like a 3-D take on Jackson Pollock, the latest work by the artist Martin Klimas begins with splatters of paint in fuchsia, teal and lime green, positioned on a scrim over the diaphragm of a speaker. Then the volume is turned up. For each image, Klimas selects music — typically something dynamic and percussive, like Karlheinz Stockhausen, Miles Davis or Kraftwerk — and the vibration of the speaker sends the paint aloft in patterns that reveal themselves through the lens of his Hasselblad. Klimas rose  to prominence in the art world four years ago for a series of photos that captured porcelain figurines just as they shattered. For this series, Klimas spent six months and about 1,000 shots to produce the final images from his studio in Düsseldorf, Germany. In addition to the obvious debt owed to abstract expressionism, Klimas says his major influence was Hans Jenny, the father of cymatics, the study of wave phenomena. The resulting images are Klimas’s attempt to answer the question “What does music look like?”

AVERAGE AMOUNT OF PAINT USED PER SHOT: 6 OUNCES

TOTAL AMOUNT OF PAINT USED ON THE PROJECT: 18.5 GALLONS

FINAL NUMBER OF IMAGES PRINTED: 212

SHUTTER SPEED: 1/7,000TH OF A SECOND

NUMBER OF BLOWN SPEAKERS: 2

(Fonte: The New York Times)



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