Visual Improvisation (2018)
Visual Improvisation explores the compositional activity of improvisation within a visual context of art. Predominantly a musical activity performed in genres of both classical and jazz music, improvisation was also utilised by a number of Abstract Expressionist artists in the painting of their gestural and spontaneous works. This portfolio examines improvisation within a visual context exploring first a improvisatory language before embarking on visual interpretations of a number of models of improvisation as coined by the improvisatory guitarist Derek Bailey in his book Improvisation: Its Nature and Practice in Music (1980).
Throughout the course of my research for my doctorate degree (2022), improvisation was utilised as a foil against which to consider indeterminacy and chance procedure and their entailing themes of agency and intentionality.
Idiomatic Imprvisation (2018)
“Idiomatic improvisation, is mainly concerned with the expression of an idiom - such as jazz, flamenco or baroque - and takes its identity and motivation from that idiom.” * This portfolio explores the guise of ‘Idiomatic Improvisation’ and consists of visual improvisations through the handling and execution of medium and technique responding to particular themes or idioms.
*Derek Bailey, Improvisation: its Nature and Practice in Music, Da Capo Press, 1992
Non-Idiomatic Improvisation (2018)
“Non-idiomatic improvisation is most usually found in so-called ‘free’ improvisation and while it can be highly stylised, is not usually tied to representing an idiomatic identity.” * This portfolio explores the guise of ‘Non-Idiomatic Improvisation’ and consists of freely improvised responces through the handling and execution of medium and technique. The following pieces also consider and reimagine the themes of edited and amended improvisation as identified in the freely improvised solos of Miles Davis and his collaborations with the the Producer Teo Macero, where in post production Macero would edit and amend Davis’s final solos through the cutting and splicing of tape.
*Derek Bailey, Improvisation: its Nature and Practice in Music, Da Capo Press, 1992
Vocabulary of Improvisation (2018)
a series of Monotypes exploring initial concerns from an exploration of visual improvisation. By examining improvisation in its primary context of music, this portfolio aims to establish a visual language of improvisation, considering its different guises and various
compositional motifs. By exploring the predominantly musical activity of improvisation across disciplines and mediums, Improvisation Responses aims to give a platform to the role of improvisation in visual art practice.
