Principles of Variation in the Sounding Canvas

First, notice that the first series (the three works above) embodies a variation of form: from "Script of the Unsaid" (50 x 70 cm), to "Echo of Lines" (70 x 70 cm), to "Rhythmic Interference" (100 x 70 cm). Clearly, the horizontal dimension is the "varied" geometric aspect while the vertical dimension remains constant. This produces a variation of form: the first vertical rectangle transforms into a square, and then into a horizontal rectangle.
However, the painted part of "Echo of Lines" remains 50 x 70 cm; it is the structure that grows in size. For us, this enlarged white frame represents the musical and "sensory" aspect. Indeed, "Echo of Lines" implements one more sensory channel (compared to "Script of the Unsaid"), and its sounds are significantly different, containing rounder harmonic textures.
The second series (the three works below) does not present geometric variations (all are 1m x 1m), but it does show significant timbral variations of sound. It begins with the mix of synthetic and real sounds in "Calligraph of Absence," progressing to the ethereal yet timbrically rich sounds of "Room Full of Chords" , sounds that are again similar to those of "Script of the Unsaid." In this way, a cycle of sonic variation spanning both series is completed.

The Pairs

"Rhythmic Interference" ↔ "Calligraph of Absence"

The first thing to observe is the vertical expansion (while the horizontal size remains the same). In "Calligraph of Absence," the shapes are "thinned out" and juxtaposed in ways that suggest verticality: all triangles point upward, and the central elements seem to guide perception along the vertical axis. The black of "Rhythmic Interference" remains, the background becomes darker, but the yellow transforms into a very light cream, almost white, acting as a visual counterpoint to the other forms.
Other criteria of translation and rotation mark the formal construction of "Calligraph of Absence" as the result of a thoughtful process of variation starting from "Rhythmic Interference." The sounds follow the same formal criteria: geometric translations find their "duality" in pitch shifts, while rotations correspond to harmonic transformations where frequencies belonging to the same tonic are "flipped" around their fundamental, producing a new timbral atmosphere.

"Echo of Lines" ↔ "Silent Score"

At first glance, there are no geometric variations, yet the transformative processes of this pair are powerful. "Silent Score" has a real acquired centrality, while "Echo of Lines" does not , it achieves balance through symmetry. "Echo of Lines" has four sensory channels in which it is mathematically impossible to establish a center, whereas "Silent Score" has five, and its center is visible and strongly marked.
"Silent Score" is the harmonic explosion of "Echo of Lines." The waves emanating from its center (almost like musical scores) are the "echoes" and reverberations of this explosion. The variation governing this pair is more brutal, almost destructive, yet its outcome leads to a sublimated, natural, physical equilibrium , no longer artificially constructed, but autonomously assumed by the Sounding Canvas organism, whose central soul has been recognized and set free.
As expected, the sounds follow the same formal and aesthetic criteria. In "Echo of Lines," the range of sounds varies from "spectrally poor" to "spectrally rich," and from "monophonic" to "polyphonic." These trajectories intersect at the center , but it is a virtual meeting point, since at the center there is nothing. Moreover, all the sounds are "timeless," without temporal dynamics. The emptiness of the center is thus represented by the lack of a temporal dimension.
"Silent Score" is the result of a "big bang" self-produced by the central attraction of the forms in "Echo of Lines." This cosmic catastrophe brings into being not only frequency dynamics but also temporal dynamics. The sounds on the right of "Silent Score" are fragmented, almost percussive, like elementary particles whose microscopic movement produces a recognizable physical entity. Approaching the center, the sounds gain temporal stability and polyphony. On the left, the same magic occurs in the frequency domain: the sounds at the far left are excessively timbrically rich (almost distorted) and monophonic; as one moves toward the center, they acquire harmony and polyphony.
"Silent Score" is a hymn to coherence. Within the entire cycle of Sounding Canvas works, this pair provides the explosive impulse for the transformation, ensuring that when the "cycle" closes with the third and final pair, the conceptual trajectory is not a closed two-dimensional circle, but an open, ever-evolving "spiral helix."

"Script of the Unsaid" ↔ "Room Full of Chords"

This pair inherits all the previous criteria and unites them. First, there is a total expansion of form: "Room Full of Chords" is both taller and wider. The dimensional growth already evident in the second pair now manifests visually as well: "Room Full of Chords" acquires three-dimensionality, appearing as a room seen in perspective , a sonic temple where one can dwell emotionally. The journey moves from dialoguing with sound to inhabiting sound.
The two works share virtually the same colors, but their geometric roles are inverted. All closed forms break into their elemental components, which through translations and rotations orient and arrange themselves to bring forth the third dimension: perspective, openness.
The sonic component follows a similar practice. The monophonic, strident beams of "Script of the Unsaid" unravel, dance, and reposition themselves into an architectural polyphonic fabric that invites contemplation and celebration of transformation.
Thus, a first cycle of variations is completed , but it is not closed. It projects into another dimension, in search of infinite further possibilities.