Tim Bavington

Las Vegas, Nevada, USA

Since 1997 I have been making vertically-striped, sprayed, synthetic-polymer paintings using a variety of compositional systems. Around 2002, after exploring numerous theories of proportional harmony, I began translating guitar riffs, solos and song scores into mathematically-proportioned bars, varying in colors and widths according to notes and their durations. The fascination with possible correlations between sound and color has a rich history in the arts, sciences and philosophy.

For my part, I am interested in music as a compositional system based on a theory of harmony, and this is an idea that goes back to the Renaissance. The beauty of this system in geometric form provides a strong foundation for endless intuitive possibilties of color arrangement. It’s important to note that the music and the painting have little in common except for the score. No attempt is made to capture the music with painting. The “spirit” of Rock and Roll is not the model either—it just happens to be my contemporary form of music. I look forward making work structured after other genres of music too.

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