Synthesis
This project takes inspiration from the painter Alexej von Jawlensky (1864–1941), whose work sought a synthesis of form, color, and spirituality within the Post-Impressionist movement. By reinterpreting Jawlensky’s pursuit of synthesis, the project bridges historical artistic research with contemporary cultural contexts. It demonstrates how classical influences can be reframed within modern music design, creating a dialogue between past and present.
The covers explore the intersection of painterly expression and digital aesthetics. The fluorescent gradients, layered shapes, and bold contrasts evoke the atmosphere of nightclubs, live performances, and the visual language of electronic soundscapes.
Rather than presenting a complete image, the process embraces incompleteness as a form of meaning-making. In this way, absence becomes as significant as presence, amplifying the project’s reflection on how history is remembered, altered, and reimagined within contemporary visual culture.
Design Approach
The original paintings, created in earthy tones, were digitally transformed, shifting their hues into fluorescent palettes that resonate with the intensity and rhythm of electronic music culture.
A key part of the process involved the deliberate erasure of certain areas within the compositions. This intervention,, operates not only as a technical adjustment but also as a conceptual gesture. By removing fragments, the work alludes to the fragility of memory—how the past can be obscured, partially forgotten, or reinterpreted. The erased sections invite curiosity: they suggest presences that are absent, prompting the viewer to wonder what might have once been there.
Materiality
Original paintings created in earthy tones, re-interpreting the abstract expression from Alexej von Jawlensky (1864-1941)
Flavia
Synthesis I, II, III
Acrylics on canvas 130 x 180mm