During his exhibition at Westfälischer Kunstverein in Münster, artist Zin Taylor invited musicians Christina Vantzou and John Also Bennett to interpret a 90-meter panoramic wall drawing
as a musical graphic score. This vinyl edition gathers the recording of this minimal music
performance, along with a 180 cm leporello reproduction of the wall drawing.
Thoughts of a Dot as it Travels a Surface is the title of an album derived from a series of wall drawings begun in 2014 by multi-disciplinary Paris-based artist Zin Taylor. Drawn in simple black-and-white, the large-scale pieces depict linear landscapes populated with rough-hewn objects: potted cacti, sculptural boulders, steaming stone baths. Taylor describes the project as “a psychological backdrop,” utilizing the reductive yet narrative techniques of caricature and illustration to achieve an abbreviated, associative form of visual storytelling. Or in his words: “Think of it as haze collecting along the surface of the wall.”
Upon completion of a particularly ambitious 90-meter panoramic wall drawing, experimental composers Christina Vantzou and John Also Bennett were invited to interpret the work as a musical graphic score. The result was a forty minute live performance in two parts, which was multi-track recorded and then mixed down into a 10-track album. Each piece and title corresponds to a specific section or object in the wall drawing. Vantzou, though based in Brussels, is best known for a string of enigmatic solo recordings for the American ambient imprint Kranky, while Bennett has explored electronic sound design in a variety of capacities, including as one third of Brooklyn synthesizer outfit Forma. Working under their initials—CV & JAB—they attempted to translate Taylor's elusive gestural lexicon into sound. The results are appropriately minimal, malleable, and mysterious.
Opener “Cactus With Vent” sets the tone: insectoid murmurings and fractured crystalline tones seesaw in and out of focus, eventually disappearing within a wash of churning water. Each composition flows unbroken into the next, much like Taylor's continuous line, emphasizing fluidity, curvature, and connectivity. “Hot Tub” introduces a mesmerizing synthetic flute-like raga, pirouetting above muted jungle noises and a babbling brook. Subsequent songs skew softer and stranger, alternately meditative (“Large Suess Plant”) and miasmic (“Tombstones”), remote vistas mapped with hieroglyphic frequencies.
The recordings, like Taylor's nuanced mini-murals, exude a subtle but restless energy, rarely lingering too long in a fixed formation. The whooshing astral synthesizer of “Alfred Hitchcock Haze” dissolves invisibly into the smeared, somber séance of “Rock House With Door,” which in turn evaporates amongst the menagerie of chattering printers, running water, and shepherd tone whispers of “String of Objects With Planter.”
More so than in past projects, here Vantzou and Bennett mask their presence, allowing textures and tonalities to tangle or unspool with minimal intrusion. The effect is naturalistic, impersonal, and intriguing. Even the few passages of relatively emotive classical piano (“Brick With Modern Form,” “Fingers Of Thought”) are played with an air of otherworldly detachment, as though such beauty was materializing purely of its own accord.
Christina Vantzou (CV) is a Missouri native of Greek descent who resides in Brussels, Belgium. She has explored sound
for over a decade and also conducts ongoing visual research, mostly in animation, film, and highspeed photography. Her musical releases are largely associated with the American label Kranky and her performances are characterized by a loosening of time.
John Also Bennett (JAB) is an American musician, composer, and sound designer who primarily utilizes synthesis alongside acoustic instruments including flute and piano. In addition to composing and performing under his own name he is a member of the trio Forma and the duo Seabat, and is active with various other collaborative projects.
Zin Taylor (born 1978 in Calgary, Canada, lives and works in Brussels) has become known internationally for his elaborate installations encompassing elements of performance and sculpture along with drawing, printing, and video. Narration
is an essential ingredient of much of Taylor's multifaceted work, and his stories are often culled from the undergrowth of popular culture (more specifically underground music scenes) and contemporary art lore. Journalism, research, storytelling: not surprisingly, both the spoken word and the printed word figure prominently in Taylor's practice (the artist himself belonging to a generation of practitioners for whom a definite facility with language
, both on a theoretical and literary level, has become a key aspect of artistic identity), and many of his installations have also been accompanied by publications and/or artist books.