Schoenbergs Dreams
2012
Acrylic on Panel
72x30 inches
the creative process; the emergence of change.
It is about half formed ideas that surface and submerge, bubbling up out of the continuous flow of the barely conscious.
They are born of the accumulation of day to day life, traditional ways of thinking, ordinary processes and learned canon.
These 12 sided polyhedrons are emerging from the miasma.
Almost, but not quite fully formed they cause turbulence as they disturb the otherwise orderly flow.
These might have been composer Arnold Schoenberg’s dreams just at singularity where he left behind the harmonies and melodies of traditional European composers and oved into a realm of
Twelve equivalent musical tones that would eventually solidify into a new atonal canon.
As a young composer in Vienna at the turn of the 20th century he must have been surrounded, fascinated, overwhelmed by, the sheer weight of the musical history and tradition swirling about him.
It is not the details of the musical canon, but the game-changing shift.
It is the threshold between what-was-before and what-was-to-come; the emergence of an incomplete, yet completely new idea that is surfacing in Schoenberg’s Dreams.
It is about half formed ideas that surface and submerge, bubbling up out of the continuous flow of the barely conscious.
They are born of the accumulation of day to day life, traditional ways of thinking, ordinary processes and learned canon.
These 12 sided polyhedrons are emerging from the miasma.
Almost, but not quite fully formed they cause turbulence as they disturb the otherwise orderly flow.
These might have been composer Arnold Schoenberg’s dreams just at singularity where he left behind the harmonies and melodies of traditional European composers and oved into a realm of
Twelve equivalent musical tones that would eventually solidify into a new atonal canon.
As a young composer in Vienna at the turn of the 20th century he must have been surrounded, fascinated, overwhelmed by, the sheer weight of the musical history and tradition swirling about him.
It is not the details of the musical canon, but the game-changing shift.
It is the threshold between what-was-before and what-was-to-come; the emergence of an incomplete, yet completely new idea that is surfacing in Schoenberg’s Dreams.
Sharon Hogg is a visual artist working in Calgary Alberta and Lombardy Ontario, Canada. She holds a Bachelors of Fine Art and a Masters of Fine Art from the Alberta College of Art and Design.
Where humans intersect with unseen natural forces, she imagines what lies behind or beneath the surface. More than seeing, she wants to feel the backstory, the understory, the glue that holds it all together. Her work seeks to bring that underlying level of awareness closer to the visible and the touchable.
The Sublime, New Materialism and the Vorticists are influences.