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The Violinist_Dodalism_St Nicks_Harlem_NYC_2006The Violinist_Dodalism_St Nicks_Harlem_NYC_2006
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The Singer_Dodalism_St Nicks_Harlem_NYC_2006The Singer_Dodalism_St Nicks_Harlem_NYC_2006
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The Pianist_Dodalism_St Nicks_Harlem_NYC_2006The Pianist_Dodalism_St Nicks_Harlem_NYC_2006
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The Basist_Dodalism_St Nicks_Harlem_NYC_2006The Basist_Dodalism_St Nicks_Harlem_NYC_2006
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Four hour set_Dodalism_St Nicks_Harlem_NYC_2006Four hour set_Dodalism_St Nicks_Harlem_NYC_2006
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The violinist Madona_Dodalism_St Nicks_Harlem_NYC_2006The violinist Madona_Dodalism_St Nicks_Harlem_NYC_2006
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Bob Cunningham_bass player_Parlor Entertainment_Harlem_NYC_2009Bob Cunningham_bass player_Parlor Entertainment_Harlem_NYC_2009
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Marjorie Eliot_founder_Parlor Entertainment_Harlem_NYC_2009Marjorie Eliot_founder_Parlor Entertainment_Harlem_NYC_2009
Artist Statement
“Harlem Jazz” drawings explore the direct connection between music and drawing. Over the course of a few visits to St. Nicks in Harlem, New York I had the opportunity to submerge in a live Jazz performance that would last up to six hours with only a break or two in-between.
The drawings capture a transient state that Jazz so well expresses. Pulsating, Jazz shapes as it progresses forward morphing intuitively to suit the shape of the mood the musician is in. This quality is captured by the quality of lines which depicts portraits of the musicians who appear to be dissolving into their environment through sound.
In “Four hour set”, “Bob Cunningham playing the base” and “Marjorie Eliot playing the piano” the line work attempts to follow music as it fills the space with sound. In turn a dynamic design and portrait formed.
“Harlem Jazz” marks a departure in Dodalism from a cluster approach to recording and in turn attempts to harness the energy and focuses it into a specific idea, in this case portrait.
