AIR

In this piece, I follow the same procedure as in my Neumas: I transcribe the notes of a musical score, rendering those corresponding to the black keys in black, and those of the white keys in white. The characteristic repetitive patterns of études emerge, differentiated for each hand.

Musical notation is, in itself, a writing of time. Here, that time unfolds into space. The notes expand and “take flight” within an extremely light structure that reacts to air currents, activating the work in subtle and ever-changing ways.

I chose Chopin’s Étude Op. 25 No. 2 for its particular lightness: a piece in which rapid notes seem to detach from the keyboard and hover, suspended in air.