Since I have been a lifetime student of classical music (piano), which involves an understanding of music composition, it occurred to me that musical compositions are built upon patterns of theme and variation. Since that epiphany, I have structured several works on classical music forms. I select an image for the silkscreen as the composer selects the basic musical theme(s) for a composition. Then I devise visual parallels for the thematic manipulations in music. Images are presented as “themes” to be manipulated (through my own vocabulary of paper manipulation and construction techniques) parallel to musical devices. In order to examining subtle changes the viewer must walk along them thereby experiencing the works over a span of time… just like music! (Sandy at sandybleifer.com)
The photo above is a small section of the 84-foot long Stone’s Stones installation at the Barnsdall Junior Arts Center Gallery. It included 39 panels 39″h totaling 84’6″ in one continuous loop. Below is the full piece.
The interwoven conceptual play of text, title and art reached its zenith in Stone’s Stones. As if pitting herself against no less than Claude Monet, Bleifer printed a huge eighty-four-and-one-half–foot long nature piece, designed to be seen from inside as a continuous encircling form. Stone’s Stones is intended as a visual correspondence to music by Carl Stone, the music developed electronically from sounds of water falling on rock.
– by Isabel Anderson, Paper Etiquette – Sandra Bleifer in Los Angeles, Visions Art Quarterly, Summer 1992
We apologize for the poor quality of the video of Stone’s Stones (1987) by Sandy Bleifer. It was all our research team could obtain to complete this fascinating story about the stones.