MUSICAL COMPOSITIONS

Five drawings, his own title and his own numbering, made without a plan and that is the method. Each starts from a single mark and accretes: a limb suggests a head, the head suggests a machine, the machine grows legs, until the sheet is packed edge to edge with figures growing into one another and you cannot tell where one body ends and the next begins.

Read closely they are full of small complete scenes. Read from across a room they are texture. That is what the title is about — not music as subject, but a composition read at two speeds, the way a score is both a page of marks and a thing that happens over time.

Everything the studio does later is already here in outline: the invented signs that became HYELTW?, the density that became the projections, the refusal to leave a surface empty.

They were later prepared as print-ready A3 files at 300 dpi and kept together as a limited edition, which is why the archive can show them at full size rather than as photographs of framed prints.