I'm inspired by the act of ‘how we look’, ‘see’ and ‘think’ about information, whether spiritually or technologically. I’m interested in how we seek patterns, symbols, and relationships to predict behavior, choose and to remember.

By questioning and experiencing the limitations of language, I created this artificial language that is based on algebraic chess and classical music notations combined.

I choose chess and music because they are systems based on rules and, like language, is understood despite the abstract variations within the game and music. This is similar to language, where words in a sentence can be rearranged, translated and interpreted in multiple ways.I see chess beyond the cliché metaphors of power, win, loss and war; for example, it extends itself to the grid, foresight, memory, elegance, hierarchy, and pattern recognition; all themes I explore symbolically.

These works reflect the artificial language I created. It is a functioning alphabet where one can ‘speak color’ and color has sound: A 32-move 1918 Capablanca chess game is translated into a musical score of 32-measures. I exploit the numerical positions of the chessboard, correlating them with musical notation so as to create a score that can be played on a piano.

8 Movements is a series of dual-sided oil paintings featured primarily on this blog and is Part 3 of a Trilogy on language. See www.nataliesimonstudio.com featuring ongoing projects not seen here and an archive. Further information on my projects are on the website as well.

8 Movements, 2011:

"Alphabet soup." Inkjet print and pen on paper. 10"x12" 32-move 1918 Capablanca chess game is translated into a 32 measures of a musical score.
A 32-move 1918 Capablanca chess game is translated into a musical score of 32-measures.

(Below) Dual-Sided Panel of 8 Movements series: SIDE A on the left and SIDE B on the right.

Installation Model of 8 Movements

As depicted above, the dual-sided paintings from the 8 Movements series, follow this organizing principle: on one side is an artificial environment contextualizing the symbolic language I created (side A); and on the other side is a measure of the musical score (side B).


Ideally, 8 Movements creates a maze of freestanding dual-sided paintings for the audience to walk through (despite anywhere from one to eight panels can be set up).

SIDE A of dual-sided panels of 8 Movements, 2011, SIDE B is not posted:

SIDE A,"Codex" oil on dual-sided panel 48"x72". Side B is "Measure#21" (not pictured). From the series 8 Movements.

SIDE A, "Playground Pedagogy" oil on dual-sided panel 48"x72". Side B is "Measure #20" (not pic tured). From the series 8 Movements.

Side A. "The Collective" oil on dual-sided panel 40"x72". Side B is "Measure #23 (not pictured). From the series 8 Movements.

Side A. "Bull's Hit Parade or A Taste for the Infinite" oil on dual-sided panel 42"x72". Side B is "Measure #9" (not pictured). From the series 8 Movements.

SIDE B,"Gameshifts: Strategy 6/6/2099." Oil painting on dual-sided panel, Side B is "Measure #14 of 32." 48"x72". From the series 8 Movements.
Spherical Paintings series, selected:
2011 Paintings, selected

The Two Step.

Edward Sapir or Horseness.
Collage series 2010, selected work

"Absent Present: Incontinent Nostalgia of the sounds I see in you." 9.25"x14.25" Pencil, charcoal, ink, wax , tracing paper, tape, and collage on paper.

"Pulmonic Lick" 12.25”x 13.25” Pencil, charcoal, wax, glue on paper

"Rope-a-dope duet."11.25”x15” Pencil, charcoal, cut and sanded paper, glue, wax on paper.

"... it's like the body is blind." 15.5”x10.5”” Pencil, oil pastel, cut and sanded paper,pins, glue, wax on paper.

"Double-blind technique" 25” x 18.25” Pencil, oil pastel, charcoal, cut and sanded paper, glue, wax on paper.

"Metronome: Soundbird" 20”x 24” Pencil, oil pastel, charcoal, casted plaster, cut and sanded paper, glue, wax on paper.
Archive

Sculpture


"Flatlands, Chess Set ". 2000. Diameter 36"
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