Part of a larger publication titled im·pres·sion. They are printed on old sun-kissed coloured copy paper. I gave some away individually with little bags of paint flakes and dried flowers stapled to the front.
Sounds inhabit time, they are transient and momentary. Each page records a moment in time and the sounds which occupy it. That moment is an eighth of a bar with four beats. Arrangements are based on pitch and relationships between sounds. The process is incomplete as it wishes to graphically clarify sounds which the brain cannot wholly separate from others.
Taking symbols from typography to represent differing sounds draws on both the cultural understanding of punctuation expressions and formal qualities to illustrate sound— a graphic onomatopoeia. The symbols act as pictographs of something invisible. They draw cultural understanding and interpretation from the reader as well as a sensual reaction, playing both with phonetic and ideographic ways of reading. Music and design are essentially abstract, formal by-products of humans to be understood and interpreted in the context of culture, by humans.
The lyrics are sung in Hopelandic, a constructed language without semantic meaning, a glossolalia. Although it is phonologically structured to sound like language, it is not systematically organised and has no connection to concepts. It is up to the listener to decide what is being sung about. The images are also without semantic meaning but express existence and time passing. They abstract the everyday, opening a narrative of personal experience within universal understanding.