This large scale painting celebrates music and the 'elements of language'. In one sense it reflects my history in watercolor, since it began as an intuitive acrylic-stain painting on canvas. In this aspect of "acrylic stain" there is also an art-historical indebtedness to the pioneering work of Helen Frankenthaller and her contemporaries. The work also is within the 'abstract expressive' tradition.

I was imagining the rich lush sound of stringed instruments and compositions for stringed orchestras. The musical score, with its staves, notes and ties is hinted at, but these have been inflected and twisted as if the very lines and dots have their own kind of visual music. The concept of 'prepositions' appealed and seemed apt to convey an important principle in art more generally - the concept of connection. The rhythms and melodic polyphony twist and turn in their irregular regularity, that kind of asymmetric regularity which is at once both musical and grammatical.

Wayne Roberts, 2002

Breaking news: My new theory—10 years work linking in considering and developing links betwen and among art-science-music-math— has just been published to the internet (Oct, 2004)! This makes the ideas accessible and instantly available internationally. See also medical research.
[Book form already published 2003]

Related works by the artist:

Sampler of experimental abstract art improvisations and compositions by the artist
Jazz improvisation in the key as shown [sold, private collection]
Tchaikovsky's Opus 50 (as performed by the Macquarie Trio) [available]*
L'escargot's Whiteley Trail through Ultramarine [very large work, (5.4metres wide) available]*
Principia [sold, private collection]
Jazz improvisation for unfretted watercolour [available]*

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