Fantasia No. 8 (v.2)

Maria de Martini is an exceptional musician. I had already singled her out long before we got to know each other, so I am delighted to be granted now the privilege to work with her.
This piece is done with Maria’s rendition of Georg Philipp Telemann’s Fantasia in E minor (Largo—Spirituoso—Allegro), the eighth (fantasia ottava - flauto di voce) of twelve sonatas found in his Fantasias for Solo Flute, TWV 40:2–13.

Maria has recorded those twelve sonatas, the music can be purchased here: http://tinyurl.com/zjwyuho

Let me say a few words about the kind of images I ended up with when making this piece: I am not interested in imagery rooted in “photo-realism,” and by that I mean more than images that are “representational,” I mean also images that are slick, “pseudo-abstract” as I have sometimes called them (along with “visual karaoke” http://blog.animationstudies.org/?p=680).
I am also very intrigued by the complexity of lucid experience, whereby we may work hard to focus on “something,” only to have that focus assailed by many many many other possibilities, triggered or not by what the primary focus unfolds.
My aim, if any, is to be true to the (“my”) experience, to “cater to the appearing as it appears” (as Edmund Husserl would have it), to bracket my original intention(s) and do my best to allow that which needs my work in order to make itself "through me.”
I have found real support in expressions such as Picasso”s: “What saved me is that I became more interested in what I found than in what I was looking for.”

An old friend, former drawing student of mine, may have found a key for entering the work, which can be difficult at times. She was familiar with my natural media work, but her first encounter with my digital "time-art" brought this remark: "My questions, at first, were around the movement between the sound/music and the imagings.
The movements' relationship felt uncertain, then as I kept a soft eye on the paintings moving--all worked...together."
"...a soft eye..."
"Just looking" as distinct from "looking for…"

The surface “noise” of this piece lives above something deeper, more elusive, which is possibly closer to the flow of the music, but which would likely become redundant if I made it more obvious (and besides, am not sure I’d want to -or could- do that).

As with my natural media work (http://tinyurl.com/m3y2p89), this is much more about uncovering bits of "not-doing" than exhibiting any evidence of "control" and/or intentional action ("smarts")…

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