La Greca Magazine
"Our hearing of colours is so precise ... Colour is a means of exerting a direct influence upon the soul. Colour is the keyboard. The eye is the hammer. The soul is the piano with its many strings. The artist is the hand that purposely sets the soul vibrating by means of this or that key. Thus it is clear that the harmony of colours can only be based upon the principle of purposefully touching the human soul" (Wassily Kadinsky quoted in the Guardian by Gerard McBurney).
In the early and mid 1900s the visualization of sound was attempted by Russian artist Wassily Kadinsky in his much abstract, complex and multilayered paintings which could seem as collages of pages from a geometry book. A true innovation, it was received by critics and public as an impressive notion and a challenging endeavor. This obsession about the integration of music into painting was off to open the gates to an era of exploration of the human mind and all its senses.
Since the history of art always builds up block by block on previous art movements, a few decades later this theory has already evolved to another level. I came to suspect that this visualization is going beyond color and two-dimensional triangles, circles and squares, but it is becoming a sort of 3-dimensionalism where color and shape get transformed according to the angle of perception.
An inspectional walk in the large art section at Classic Event '15 in Kortrijk revealed to me an oddly beautiful amalgam of classical instruments and scores captured inside a tall vertical mass of transparent, fragmented plexiglass. The human-proportion-high creation triggered my senses and tricked me into hearing scrambled notes, not necessarily composing a known musical piece, or even a melody on its own. But, the impression was mostly an elongated mixture of sounds that the violin and the trumpet would have produced at a certain frozen moment in time. It's called "synesthesia" that mind game which triggers a sense that leads us to experience a totally different sense, by drawing on our own knowledge of the world. That piece of 3-dimensional art managed to turn vision into sound. I heard only by looking. And the mere beauty of it is that every single viewer - be it a critic or an amateur art lover - probably hears their own unique tune or just a long, profoundly silent pause.
The creator, French painter and sculptor Franck Tordjmann has exhibited his pieces across the world, such as in Galeries Bartoux in Parijs, St Paul de Vence, Honfleur, Megève, Courchevel, Cannes, New York and Singapore.
When I visited Cafmeyer Gallery in Knokke (29 Kustlaan), I had the chance to take shots and close-ups which represented my point of view, my perception of Franck Tordjmann’s artworks at ease. I wanted to attempt to project the agony, pain, and frustration expressed in the violently compressed brass and vintage pocket clock compositions as seen through the lens of my camera. I witnessed a tortured sound coming out of those saxophones and distorted flutes. I interpreted the collected clocks as a reference to the relativity of time. If we toss our watch in a trash bin, time will matter only in the number of the breaths we take or the intensity of our moments. Perhaps Tordjmann’s frozen vivid electric blue violin could evoke a deep blue yet energizing chord which would perpetually linger in the core of our being.
In the very end, regardless of what Tordjmann actually intended to convey to us, perhaps he gives us the chance to think that pausing is also making music: “The music is not in the notes, but in the silence between.” (Wolfgang Amadeus Mozart). Freezing time or extending our personal time as we choose, may be the remedy to a hectic fast-paced 21st century life where Salvador Dali’s melting clocks have become more relevant than ever.