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Inevitable Music #1: Variations on Sol LeWitt’s Wall Drawing #260

Sébastien Roux, Seth Cluett
FAG 003

Gatefold LP with printed inner sleeve, limited to 350 copies
Mastered by Rashad Becker at Dubplates & Mastering, Berlin

Side One

Variation 1
Variation 2
Variation 3
Variation 4
Variation 5

Side Two

Variation 6
Variation 7

Inevitable Music #1: Variations on Sol LeWitt’s Wall Drawing #260, is composer Sébastien Roux’s sonic translations of Sol LeWitt’s Wall Drawing #260, with a commissioned essay from artist and composer, Seth Cluett and featuring the work of conceptual artist Sol LeWitt (1928-2007)*.  Inevitable Music #1 is the first collection in a series of compositions from Roux dedicated to the conceptual processes of LeWitt’s seminal wall drawings, which LeWitt began to produce in the late 1960s.
Inevitable Music #1 employs a group of discrete digital and analog sounds (sustained/pulsed sine tone, sawtooth wave, voice, etc.) that each correspond to one of 20 shapes used in creating LeWitt’s instructional wall drawing. Once assigned, these discrete sounds combine to create elegant and rigorous compositions that encourage the listener to reconsider LeWitt’s notion that “the idea becomes a machine that makes the art.”[1]  As a further nod to the instructional nature of LeWitt’s practice, each variation is preceded by a female voice that announces the particular combination of sounds used to create the composition.

*Artwork: Sol LeWitt, Wall Drawing #260, On Black Walls, All Two-Part Combinations of White Arcs from Corners and Sides, and White Straight, Not-Straight, and Broken Lines. First Drawn by Sol LeWitt, San Francisco Museum of Modern Art (detail), 1975. Crayon on painted wall, Dimensions variable.
© 2014 Estate of Sol LeWitt/ Artist Rights Society (ARS), New York. Courtesy Paula Cooper Gallery, New York.

[1] LeWitt, Sol, “Paragraphs on Conceptual Art,” originally published in ArtForum, June 1967.

“Beyond the system established to sonify the original LeWitt, Roux has a fundamentally different engagement with processes. Where the result of LeWitt’s experiments actively engage the viewer with the geometry of space, Roux’s choices create an elaborate engagement with the flow of time. The experience of listening to each permutation, of each construction unfolding, of each immediately following the next, elicits an experience of temporality that seems more elastic than the linear rigidity described by the voice that precedes each variation.”

Excerpt from The Raw Flow of Material, Seth Cluett

© Future Audio Graphics, 2014