PARCOUR ÉTENDU
Parcour Étendu (Extended Paths) is a series of graphic scores that explores complex notational forms through gesture, structure, and abstraction. The works integrates research into the linguistic structures of lettering, geometry grammar of visual systems, and the semiotics- creative insight into the symbolic forms. This series precedes and conceptually informs the later Parcour Minimaux works, which study similar ideas into simpler, more compact formats.
Artist Statement: This series began as a space for open exploration rather than a fixed set of instructions. As the work developed, the structure of each piece became more defined, bringing clarity to the overall form. The editions reflect a strong interest in how simplicity and complexity can exist together, and how performers respond to this balance in improvisational and experimental music settings.
Fragments in Tension
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
Position Monochrome
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
Sonorism XXIV
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
ATLAS SONUS
This edition represents my continued exploration of geometry, architecture, semiotics, and typology, with a focus on the relationships shaped by the use of a limited range of colors. It aims to allow the unconscious mind to express itself—often resulting in the depiction of illogical or dreamlike scenes and ideas. Inspired by surrealism, Suprematism, Sonorism, and Impressionism, among many others, the work emphasizes the material properties of objects and their spatial presence to create compositions that are more vibrant, pictographic, and expressive, featuring sharper shapes and clearer linear qualities.
The works also seek to reject traditional pictorial representation in favor of a more synesthetic approach, such as hearing sounds as colors, grapheme-color synesthesia (seeing letters or numbers as specific colors), or spatial-sequence synesthesia (visualizing numbers or time in spatial forms). Within the context of live performance in experimental music settings, the pieces encourage a creative and curious approach to transforming their abstract, unconscious nature into dynamic interplay through unconventional techniques, extended instrumental or vocal methods, and a nuanced exploration of timbral and tonal clusters that transcend the constraints of traditional performance.
The series draws inspiration from the visual language of constructivist, modernist, and abstract artists like Kazimir Malevich, El Lissitzky, and Wassily Kandinsky, as well as from the music of modernist, post-serialist, and sonorist composers such as Krzysztof Penderecki, Bogusław Schaeffer, Iannis Xenakis, Arnold Schoenberg, and Igor Stravinsky, among others.
Multiverse – 3rd Movement
Cycle 1
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
Multiverse – 1st Movement
Cycle 1
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
Sonorism I II I IIII III IIIII IIIIIII
Cycle 1
Graphic Score, 2021
Colored pencil on smooth white drawing paper
A3 (29.7 × 42 cm)
SUNSONIC
No Effort In Being Still [for solo drums and additional electronics]
Graphic score, 2024
Colored pencil on smooth white drawing paper
A4 (21 × 29.7 cm)
The score is prompt to action that vary by performer, his instrument and circumstance. The piece should combine focused attention and aesthetic sensibilities, serving as both an organization of perception and a manipulation of the material foundation of sound. The element of surprise and the substantial differences from one performance to another are should not be a results of the performer’s choices, but of their timing, tuning, playing technique, the instrument, and the acoustic qualities of the performance space. This piece needs an audience. It needs time and a place. Only under these circumstances should the piece truly take shape.
Cracked Media [for solo saxophone]
Graphic score, 2024
Colored pencil on smooth white drawing paper
A4 (21 × 29.7 cm)
The score Cracked Media reveals multiple strands of activity that could each be analyzed separately, offering a unique cocktail of interchanged reactions, familiarity, and even disgust.
In this work, notation is closely tied to both the performance and the sound of the piece. What you see on the page is closely related to what you hear, yet the final outcome still depends on the performer’s connection to the material, creative imagination, and technical skills. The notation does not fully determine the sonic result; rather, it guides the performer’s actions on different levels.
The work represents a disrupted flow of interchangeable energies, where one action can easily stifle another. Since there is a strong practical concern regarding how readable a score is for musicians, this score invites performers to begin wherever their eyes first land on the page. Although not its main feature, the score offers multiple entry points through its discrete sections, allowing for greater fluidity and shifting movement across the space.
Additionally, Cracked Media places particular value on unexpected conflicts, frictions, and chance occurrences that can lead to unique sonic outcomes.
Subtly Hubtly [for solo Paetzold]
Graphic score, 2024
Colored pencil on smooth white drawing paper
A4 (21 × 29.7 cm)
Subtly-Hubtly is a musical work that invites the performer to explore a balance between precision and spontaneity, blending the acoustic possibilities of the Paetzold bass flute with optional electronic manipulations, when available. Each visual and color element represents a new sonic or gestural counterpart, encouraging a fluid interpretation while aiming for a cohesive and playful narrative.
Presence and Absence
Graphic Score, 2024
Colored pencil on smooth white drawing paper
A4 (21 × 29.7 cm)
… between what is present and what is absent, between sound and silence, physicality versus the void, or the interplay between what is there and what isn’t.
This work represents an equilibrium between what is clearly defined (presence) and what is left open (absence). It invites conscious self-questioning. Symbolically, the stones’ physical weight contrasts the burden or gravity of certain musical ideas, while the vacant surroundings represent the void or space for potential.
“Presence and absence” also relate to the themes of memory and forgetting. The stones symbolize memories, specific musical ideas or fragments of sound that are preserved but still seek expression, while the bare void represents what has been forgotten, left behind, or what lies in the potential future. The physical, nature-found objects (stones) become the notation of the piece, with their shapes translating into musical notation. Each stone, individually composed and juxtaposed onto music paper, invites reflection on the nature of flaws, the inevitability of change, and whether presence or absence is an ideal or an illusion.
The sound of the piece does not “tell time” but creates a space in which the performer can find their own sense of time. The piece does not represent a duration to mark but rather a space to occupy. The sounds of the piece do not dominate the space but point to its dimensions and to any other events that may occur within it.
The time in which a piece is performed coincides with the place and with the responsiveness of the performer. This intersection acknowledges all sorts of perceptions, feelings, reactions, and conditions, whether external or incidental to the composed work. Moreover, the nature-found objects (stones) invite the performer to focus their attention on basic forms, textures, and the essence of performing materials, encouraging contemplation on the simple and fundamental aspects of our being.
Additionally, the illusion of the multiplicity of surfaces—paper and stones—juxtaposed with each other, makes both objects of focus, illusions, and perceptions that are questioned and doubted. A sense of time passing is conveyed through the stones (larger units), which offer points of focus as they are performed in repeating cycles that represent objects of attention and perception appearing both static and in motion.
Overall, the shapes of the score should drive the work, embodying an imagination that maintains a free flow, focusing on aspects of sound quality and texture expressed through the performer’s individual expression and creativity.
Selected editions available for exhibition, acquisition, and performative realization upon request.