Tim Bavington
Aquamarine, 2017
Synthetic polymer on canvas
32 x 96 in (81.28 x 243.84 cm)
Tim Bavington
(back to) Black (addicted), 2017
Synthetic polymer on canvas
36 x 120 in (91.44 x 304.80 cm)
Tim Bavington
White (room), 2017
Synthetic polymer on canvas
36 x 96 in (91.44 x 243.84 cm)
Tim Bavington
Purple (haze), 2017
Synthetic polymer on canvas
16 x 64 in (40.64 x 162.56 cm)
Tim Bavington
Green (onions), 2017
Synthetic polymer on canvas
24 x 100 in (60.96 x 254 cm)
Tim Bavington
Red (house), 2017
Synthetic polymer on canvas
16 x 60 in (40.64 x 152.40 cm)
Tim Bavington
Lavender, 2017
Synthetic polymer on canvas
36 x 36 in (91.44 x 91.44 cm)
Tim Bavington
Tangerine, 2017
Synthetic polymer on canvas
36 x 36 in (91.44 x 91.44 cm)
Tim Bavington
(baby) Blue, 2017
Synthetic polymer on canvas
72 x 24 in (182.88 x 60.96 cm)
Tim Bavington
Purple Haze, 2017
Watercolor and pencil on paper
18 x 24 in (45.72 x 60.96 cm)
Tim Bavington
Tangerine, 2017
Watercolor and pencil on paper
20 x 20 in (50.80 x 50.80 cm)
Tim Bavington
Study For "L.M.L.O.T.D.", 2017
Archival inkjet print with synthetic polymer
25 x 24 in (63.50 x 60.96 cm)
Tim Bavington
Working Study for "Slippin 'N' Slidin", 2017
Archival inkjet print with synthetic polymer
24 x 24 in (60.96 x 60.96 cm)
Tim Bavington
Long Distance Runaround (interlude) / C, 2016
Colored pencil on graph paper
22 x 17 in (55.88 x 43.18 cm)
Tim Bavington
Study For "Brand New Start", 2017
Archival inkjet print with synthetic polymer
25 x 24 in (63.50 x 60.96 cm)

Tim Bavington

Tone Poems

September 7 – October 21, 2017

         

            In 1956, Frank Sinatra conducted an album for Capitol Records called Tone Poems of Color. The record consists of twelve tracks inspired by the poetry of Norman Sickle, each piece written by a notable 20th Century Hollywood composer and designated by a color as its title. In the manner of mid-1800’s European orchestral music, these “tone poems” attempt to translate the emotive and narrative content latent in non-musical sources directly into sound.

 

            Tim Bavington’s celebrated oeuvre takes this idea of translation head on, considering the correlative, reciprocal, and at times ambiguous relationship between the visual and aural, art and music. The artist’s approach to geometric abstraction is based in a complex system of annotation and interpretation, whereby popular songs’ musical “DNA” (e.g. melody, beat, etc.) find subjective representation in color and form. This, in effect, is Bavington’s conceptual framework for making paintings.

 

            Inspired by Sinatra’s record, the artist’s latest studio work explores the nuances and energy of individual colors. The basis for each painting is a musical composition with a single color in the title: Jimi Hendrix’s Purple Haze, for instance. Whereas much of Bavington’s previous output delivered color at “full volume,” many of the new paintings reflect a lowering of chromatic intensity, as well as a broader tonal range and more limited palette. Morgan Lehman is delighted to present these works in Tim Bavington’s first solo exhibition with the gallery.

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