Long May You Run, 2010, Mark Moore Gallery, Santa Monica
I've come upon the work of Las Vegas-based artist Tim Bavington who translates the aural experiences of pop songs into visual ones. I am intrigued not just by the charisma of his work, but the sensory synergy he draws upon in his paintings. The Best of Me, 2004, Jack Shainman Gallery, New York
He transposes samples of music (riffs, guitar solos and entire songs) into stripes by matching the 12 tones from musical scale with 12 tones from the color wheel and assigning each note a color. Photo: What's the Frequency Kenneth?, 2009, Jack Shainman Gallery, New York
The length of each note determines the bandwidth of stripe. From a distance the stripes look clean and finished, but upon closer view they blur, almost blend as if vibrating with sound–much like the music which inspires them. Get Happy, 2009, Mark Moore Gallery, Santa Monica
Some of Mr. Bavington's paintings also apply a looseness where colors bleed together or fade in and out to create white space within the composition, such as with (above) Get Happy, and (below) Up in Suze's Room. The imagery is vivid, fluid and exhilarating, just as their linear counterparts. Up in Suze's Room, 2010, Jack Shainman Gallery, New York
Robert L. Pincus of the San Deigo Union-Tribune writes, "Bavington's art makes the visual equivalent of joyful noise. It's feel-good art, with an urbane and sophisticated sensibility." And to that I say, Rock on!"
Photos courtesy of the artist and the Mark Moore Gallery, Santa Monica, for Long May You Run and Get Happy. Photos courtesy of the artist and the Jack Shainman Gallery, New York, for The Best of Me, What's the Frequency Kenneth?, and Up in Suze's Room.