Debussy Text



The Debussy drawings follow the free-flowing movement of the composer’s musical language. Their freedom has developed out of the radically different John Cage Drawings combining sound and mark-making and the Bach Cello Suite works reflecting his measured and considered metre.

Both drawing and playing music are physical processes and the marks and the sounds are an extension of the hands arms body making them. My work is non-representational but I arrive at this nominal abstraction through making drawings in response to something external. It is a way of exploring a different approach to the disintegration and rebuilding of form through drawing. I want to give the descriptive possibilities of sound an equal importance with the drawn mark.

L’Aprés Midi d’un Faun and Syrinx are dancerly, acknowledging the use of L’Aprés midi d’un faun as a vehicle for the Russian dancer Nijinsky in ballet of the same name. La Mer, Debussy is the first orchestral piece I have used as a source, and the lines and marks resonate particularly with the drama, movement and crashing chords of the finale.