This work was created while listening to the music of Tchaikovsky and can be understood as an attempt to translate sound into a visual language. Fragments of sheet music from Opus 35 are incorporated into the collage, becoming more than archival traces of a composition. They transform into rhythms, movements, and vibrations that structure the pictorial space, preserving the memory of music within the image itself.
At the center of the work, two instruments are connected by a golden thread resembling a tree branch. This motif refers to the philosophy of Kintsugi — the art of connection and restoration, where bonds become more meaningful than fractures. Music appears here as an invisible force capable of linking opposites: masculine and feminine, light and shadow, reality and imagination.
A carnival mask emerges in the composition, evoking the theatrical nature of life and the many identities we inhabit throughout our journey. Behind it appears a crescent moon, an ancient symbol of femininity, intuition, mystery, and the inner world.
The entire composition unfolds like a musical score. Spirals, flowing lines, and vibrant color transitions create the sensation of a melody that rises and fades, expanding and contracting like breath. Color becomes sound, while form becomes rhythm.
Opus 35 tells the story of a magical dance of love — not only between two beings, but also between music and painting. It is a space where sound transforms into color and color begins to resonate like music. Rather than illustrating Tchaikovsky’s composition, the work becomes its visual counterpart, inviting the viewer not only to look, but also to listen to its inner melody and enter a world of emotion, memory, and poetic imagination.
