One day, the case of French contemporary composer Olivier Messiaen incorporating his synesthetic experiences into his works and practices resonated with the modern and experimental approaches rediscovered through Buddhist perspectives. This served as a clue to the exploration of new artistic activities, enabling a process of “fumbling” (摸索) through sensory experiences. If resonance between senses and sensory objects could be termed “sentient cognition,” this project became a significant turning point, offering insights into transient perception and the subject of sensory reception. Inspired by how Olivier Messiaen reinterpreted combinations of colors through his unique experiences, sensory receptivity, and spiritual insights to build his artistic world, I wondered if I, too, could integrate experiences of color and music into a single artwork.
Regarding the 1019 Gallery & Lounge Exhibition
This exhibition includes 1 hour and 6 minutes of music. The attempt to express the atmosphere or interpretation of works through sound and music is not uncommon in exhibitions. This aligns with the contemplations I had during my projects <The Sense of Water>(2022) and <古色蒼然(A timeless, aged aura)>(2024). After working on reinterpretations with SEUM (a music group) and media artist Minjung Lee and staging <古色蒼然(A timeless, aged aura)> with the traditional music group Saet in October 2024, I found it interesting that following these collaborations, I had a solo exhibition shortly afterward—first in January 2023 with Gallery CISO, and again in January 2025 with the 1019 Gallery & Lounge. This recurring “cycle” of collaboration followed by solo exhibitions led me to reflect on the gap between collaborative expressions with musicians and my own reinterpretations.
Despite collaborating with excellent musicians, unresolved issues arose from the perception that music and visual works did not merge into a singular experience. Converting the impression of what is seen into what is heard, or vice versa, remains an artist’s or musician’s interpretation of their received impressions. I concluded that for visual art and music to coalesce within the same work, they must be “constructed on the same framework.” Thus, colors should consistently translate into certain “tones,” “voicings,” or “scales” within a coherent system. I wanted to express my experiences and perceptions of color through my work, exploring the possibility of multimedia and multisensory art.
Thus, colors should consistently translate into certain “tones,” “voicings,” or “scales” within a coherent system. I wanted to express my experiences and perceptions of color through my work, exploring the possibility of multimedia and multisensory art.
About the Process
Composer Olivier Messiaen was a synesthete who perceived colors when hearing sounds or music. I happened to come across an account where Messiaen described Debussy’s opera <Pelléas et Mélisande> to his students as “an orange hue tinged with blue and green" from a video content on YouTube. Messiaen discovered the uniqueness of his perception of music through his interaction with a Swiss painter who painted based on music. His “modes of limited transposition,” developed for composition, were rooted in color.
I gathered critiques, papers, and research related to this and analyzed them using AI. ChatGPT generated Python codes based on these sources, which produced a variety of outcomes. From these, I selected color tones relevant to my work and matched them to Messiaen’s scales. I then adapted pieces from Messiaen’s organ and piano repertoire and Debussy’s works. Using Messiaen’s Mode 1 and Mode 3 transpositions, I created variations, some closely resembling the originals.
Exploring the Interconnected Nature of Sensory Perception: Just as Messiaen developed his own methods, it is essential to consider how specific sounds, melodies, or rhythms awaken visual senses. This exploration may involve elements of color, form, or texture, moving beyond the simple acceptance of colors as they are. It involves a deeper inquiry into the sensory and perceptual connections between different forms of expression.
On Emotional Resonance: Messiaen devised unique ways to express the emotional weight he carried. For example, his attempts to convey transcendence and divinity through colors are significant reference points for examining how colors can articulate emotional and atmospheric elements. This approach goes beyond direct depiction or literal representation, reinterpreting sensations while unraveling various resonances within mental imagery.
Adopting Flexibility in Interpretation: To explore and interpret the intersections between color, sound, and imagery, it is crucial to cultivate a mindset that is fluid, open, and imaginative rather than rigid or dogmatic. Creating a flow through rich and flexible thinking often holds greater importance than adhering to fixed frameworks or systems.
Developing a Unique Palette: This involves creating works that express specific sounds or musical pieces or experiencing such connections through existing works. At times, these experiences lead to the development of a unique “palette” of colors and their subsequent transformation into a personal visual language and interpretation.
Using Music as a Tool for Focus: Beyond drawing inspiration or ideas for creative works, one must practice meditative engagement with music itself. Observing how sound naturally evokes states of color or imagery through detailed, quiet, and deep attention helps bring such experiences and impressions seamlessly into artistic expression.
This holistic approach to the interplay of senses emphasizes the potential for deeper connections, underscoring the profound resonance between auditory and visual experiences.
Håkon Austbø’s Interpretation of Messiaen’s First Mode of Limited Transposition
Austbø’s interpretation of Messiaen’s first mode shares fundamental similarities with Messiaen’s own synesthetic color interpretations. However, Austbø’s focus differs slightly in specific areas, particularly in the emphasis on tonal nuances and combinations. Austbø’s research is grounded in Messiaen’s writings on composition and Austbø’s personal study of Messiaen’s works. His interpretations occasionally diverge subtly in the brightness or combination of colors.
To summarize, Messiaen’s descriptions of visualization and color combinations are often more poetic, while Austbø’s interpretations emphasize structure and categorization with a more precise approach.
Messiaen’s First Mode of Limited Transposition
First Transposition:
Messiaen: Silvery, slightly pale blue tones with a reflective or cool sensation, accompanied by violet hues.
Austbø: Similar to Messiaen’s description but situated within a cooler tonal range, with more defined contrasts in brightness that bring out the colors more distinctly.
Second Transposition:
Messiaen: Golden tones and orange hues—warm and diffusive in feeling.
Austbø: Comparable warm combinations but occasionally introduces amber tones subtly blended with gold, reflecting his own project-specific categorizations.
Third Transposition:
Messiaen: Repeats the colors of the first transposition exactly.
Austbø: Generally consistent with Messiaen’s repetition, but subtle differences emerge based on the contextual emphasis within each tonal category. For example, when addressing the silvery, pale blue range, Austbø’s interpretation may highlight slight variations in emphasis.
While Austbø’s method reflects a structured and categorized approach to color interpretation, Messiaen’s descriptions lean toward symbolic and poetic expression. Messiaen’s flexible and evocative articulation allows for interpretive freedom in visual representation, whereas Austbø provides clearer guidelines, focusing on consistent categorization and reducing ambiguity. Austbø’s framework complements Messiaen’s ideas while refining them for performers and audiences seeking clarity in synesthetic exploration.
By embracing such variations, the boundaries between sensory experiences dissolve, fostering a deeper exploration of the inherent interconnectedness of human perception.
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