"As I stood before Bacon’s masterpiece, my gaze followed the intricate reflections of the ceiling’s structure on the protective glass—a barrier between the spectator and the painting. As the museum’s tour guide explained, Bacon himself insisted on the presence of this glass. I couldn’t help but be inspired by how the reflection formed a grid, organizing the elements of the painting and shaping my perception of the piece. This notion became the foundation of my notation, guiding how I structure the sounds. The otherworldly sounds of sines reflect the glass, and the percussion is what we see of the painting, in between the reflections of glass.
Following Bacons choice of colors, I also categorized percussion sounds to 4 groups and worked with mixing the colors with the sines of the ebow on the piano."
