Tim Bavington, Long May You Run, 2010, Mark Moore Gallery, Santa Monica
I've come upon Las Vegas-based artist Tim Bavingnton's pop music-inspired paintings. Bavington translates the aural experiences of music (riffs, guitar solos and entire songs) into visual ones. What intrigues me about Bavginton's work is not only the kinetic energy of the pieces, but also the sensory synergy he draws upon to create his art.
Tim Bavington, What's The Frequency Kenneth?, 2009, Jack Shainman Gallery, New York
He matches 12 tones of the musical scale with 12 tones from the color wheel, assigning each note a particular color. The length of each note defines the bandwidth of each stripe. From a distance the stripes seem defined. Upon closer review, they actually blurr and blend as if vibrating like they music they emulate.
Tim Bavington, The Best of Me, 2004, Jack Shainman Gallery, New York
As Bavington writes himself, about himself, "While neither attempting to capture music with painting nor the “Spirit” of Rock and Roll, the painter finds expression in the form of color and geometry. The difference between using a score to make a painting and using a score to perform music is that each creates a distinct temporal experience. The sheet music is to its performance as the sketch is to the process of painting. The score and the sketch lay down guidelines with some specificity, and they are both open to interpretation and arrangement."
Tim Bavington, Up in Suze's Room, 2009, Jack Shainman Gallery, New York
Vertical striped patterns are typical of Bavington's work, but the imagery also includes unhibited looseness where colors bleed into one another or fade in and out creating open spaces of white light within the composition, such as with (above) Up in Suze's Room.
Tim Bavington, Happy Today, 2009, Jack Shainman Gallery, New York