To Move, To Mend
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"A Study in Artistic Collaboration"
"A Study in Artistic Collaboration"
The Shonai Collective is its third major collaborative project titled To Move, To Mend—an improvised exchange between art and music.
The Shonai Collective is its third major collaborative project titled To Move, To Mend—an improvised exchange between art and music.
This interdisciplinary collaboration between music composer Shonai and visual artist Jenny Bailie explores a compelling dialogue between sound and image, narrative and emotion, and the transformative power of artistic response.
The project began with Shonai composing an original piece of music in response to the first print created by Jenny. Inspired by the visual language and the underlying personal narrative described by the artist, Shonai translated these elements into music—crafting a composition that reflects the emotional landscape and thematic essence of the print. Through the use of instrumental choices, harmonic character, dynamics, and textural layering, his music sought to mirror the spirit of the visual work.
In a unique turn, the collaboration evolved into a reverse-inspiration process. Jenny responded by creating a new collagraph based purely on the sounds and feelings evoked by the music, which was primarily composed for anothere artwork of the same artist. Her approach—deeply intuitive—was guided by musical elements such as instrumentation, form, texture, rhythmic repetition, and emotional tension. This established a genuine cross-disciplinary conversation, where neither medium dominated, and both artists became equal participants in an organic artistic exchange.
Once both works were completed, the artists engaged in a reflective dialogue, sharing their interpretations and the choices that shaped their individual processes. Shonai revealed his musical analysis of the first print only after Jenny had completed her second print, making her visual response entirely uninfluenced by prior explanation. What emerged was a fascinating overlap: both artists had intuitively arrived at the shared themes of movement and transition, despite working independently across different mediums and timelines.
The project revealed how a single artwork, when filtered through different artistic lenses, can inspire multiple narrativesand interpretations. It underscores the idea that art is a living, evolving experience—open to individual perception yet capable of creating universal resonance.
To Move, To Mend stands as a powerful testimony to the beauty of collaboration, the freedom of artistic interpretation, and the transformative possibilities that arise when visual art and music converge.
Composer's Statement
Composer's Statement
Planning and Execution
Planning and Execution
When I began reaching out to students from other art disciplines for a potential collaboration, I received an offer from Jenny Bailie, a student specializing in printmaking. She shared a few of her works with me, and each one was outstanding. The artwork that intrigued me the most was a print named- Leaving Arriving, primarily because of the colours she used, which I connected with immediately. Jenny, in turn, seemed interested when I shared my emotional response and the sonic representation I had been envisioning spontaneously. Eventually, we both agreed to work together on a collaborative project.
When I began reaching out to students from other art disciplines for a potential collaboration, I received an offer from Jenny Bailie, a student specializing in printmaking. She shared a few of her works with me, and each one was outstanding. The artwork that intrigued me the most was a print named- Leaving Arriving, primarily because of the colours she used, which I connected with immediately. Jenny, in turn, seemed interested when I shared my emotional response and the sonic representation I had been envisioning spontaneously. Eventually, we both agreed to work together on a collaborative project.
Although our initial plan was to compose music based on the print- Leaving Arriving, I proposed an interactive approach. I suggested that Jenny create a second artwork based on the music I would compose in response to Leaving Arriving. To make the process more engaging, we decided that I would not share my music with her beforehand. This would allow her to engage with the piece with a fresh and open mind, leading to a new visual interpretation inspired solely by the music.
Although our initial plan was to compose music based on the print- Leaving Arriving, I proposed an interactive approach. I suggested that Jenny create a second artwork based on the music I would compose in response to Leaving Arriving. To make the process more engaging, we decided that I would not share my music with her beforehand. This would allow her to engage with the piece with a fresh and open mind, leading to a new visual interpretation inspired solely by the music.
Once the second artwork is completed, we planed to meet online and exchanged our reflections. I shared my musical interpretation of Leaving Arriving with analysis, explaining how various elements in the composition represent aspects of her original artwork. Jenny then shared how she interpreted the music and translated those impressions into her new artwork.
Once the second artwork is completed, we planed to meet online and exchanged our reflections. I shared my musical interpretation of Leaving Arriving with analysis, explaining how various elements in the composition represent aspects of her original artwork. Jenny then shared how she interpreted the music and translated those impressions into her new artwork.
Introduction
Introduction
As part of the academic collaboration programme, I initiated a cross-disciplinary project with visual artist Jenny Bailie. The aim of this collaboration was to explore the creative possibilities that arise when visual art and music interact, allowing for a mutual interpretation of form, emotion, and narrative across disciplines. My role was to compose an original piece of music in direct response to Jenny’s print-based artwork, using sound to interpret its visual language and underlying story. Jenny created a second print in response to my composition, thereby completing the project and underscoring the interpretive openness and dialogic potential of interdisciplinary art.
As part of the academic collaboration programme, I initiated a cross-disciplinary project with visual artist Jenny Bailie. The aim of this collaboration was to explore the creative possibilities that arise when visual art and music interact, allowing for a mutual interpretation of form, emotion, and narrative across disciplines. My role was to compose an original piece of music in direct response to Jenny’s print-based artwork, using sound to interpret its visual language and underlying story. Jenny created a second print in response to my composition, thereby completing the project and underscoring the interpretive openness and dialogic potential of interdisciplinary art.
Symbolic Lines and Melodic Texture
Symbolic Lines and Melodic Texture
The artwork also includes numerous thin black lines, some of which result from rust and packing tape impressions. These lines appear spontaneous and layered, suggesting traces of memories, objects, and relationships left behind. I interpreted them musically as departing elements from the artist’s past days.
The artwork also includes numerous thin black lines, some of which result from rust and packing tape impressions. These lines appear spontaneous and layered, suggesting traces of memories, objects, and relationships left behind. I interpreted them musically as departing elements from the artist’s past days.
To reflect this symbolism, I employed wind and brass instruments to deliver melodic material composed without a static key centre. These melodic lines were distributed across various registers to create rich timbral contrasts. During the mixing process, these lines were panned from right to left in the post production—sonically portraying the backward movement of things being left behind, in contrast to the forward visual direction of the steps, which move from left to right.
To reflect this symbolism, I employed wind and brass instruments to deliver melodic material composed without a static key centre. These melodic lines were distributed across various registers to create rich timbral contrasts. During the mixing process, these lines were panned from right to left in the post production—sonically portraying the backward movement of things being left behind, in contrast to the forward visual direction of the steps, which move from left to right.
This contrapuntal motion between visual and sonic elements creates a powerful sense of emotional conflict. The free tonal movement and polyphonic texture of the wind and brass sections resulted in a dissonant, eerie soundscape that mirrors the artist’s emotional state during her relocation.
This contrapuntal motion between visual and sonic elements creates a powerful sense of emotional conflict. The free tonal movement and polyphonic texture of the wind and brass sections resulted in a dissonant, eerie soundscape that mirrors the artist’s emotional state during her relocation.
Harmonic Interpretation of Steps and Emotional Landscape
Harmonic Interpretation of Steps and Emotional Landscape
The print features a prominent motif of brightly coloured, uniquely shaped structures resembling steps, arranged in pairs, with each step filled with colours such as white, red, purple, and orange. The steps metaphorically represent the artist’s own experience of relocating from one city to another. This transition, fraught with uncertainty, fear, and emotional instability, is musically conveyed through the free harmonic language and evolving dynamics of the composition. While the brass and wind instruments conveyed movement and detachment, the string section was used to represent static moments—instances of pause and emotional stillness. Each colour-filled step was matched with a specific harmonic element produced by the strings, and when steps appeared in pairs, the harmonies were appeared accordingly. These overlapping sections produced a deep, textured soundscape that captured the complexity of the psychological experience.
The print features a prominent motif of brightly coloured, uniquely shaped structures resembling steps, arranged in pairs, with each step filled with colours such as white, red, purple, and orange. The steps metaphorically represent the artist’s own experience of relocating from one city to another. This transition, fraught with uncertainty, fear, and emotional instability, is musically conveyed through the free harmonic language and evolving dynamics of the composition. While the brass and wind instruments conveyed movement and detachment, the string section was used to represent static moments—instances of pause and emotional stillness. Each colour-filled step was matched with a specific harmonic element produced by the strings, and when steps appeared in pairs, the harmonies were appeared accordingly. These overlapping sections produced a deep, textured soundscape that captured the complexity of the psychological experience.
The harmonic layering was not smoothed or corrected for tonal coherence. Instead, I allowed the chords to overlap organically, creating moments of harmonic friction. These moments reflected the internal conflict, uncertainty, and emotional layering that are characteristic of major life transitions. This approach yielded combinations that are organic, sonically tense and emotionally raw—reflecting the artwork’s themes of displacement and psychological unease. The absence of tonal resolution and the unpredictable movement of harmonies are central to communicating the emotional weight embedded in the visual form.
The harmonic layering was not smoothed or corrected for tonal coherence. Instead, I allowed the chords to overlap organically, creating moments of harmonic friction. These moments reflected the internal conflict, uncertainty, and emotional layering that are characteristic of major life transitions. This approach yielded combinations that are organic, sonically tense and emotionally raw—reflecting the artwork’s themes of displacement and psychological unease. The absence of tonal resolution and the unpredictable movement of harmonies are central to communicating the emotional weight embedded in the visual form.
Resolution and Dilemma
Resolution and Dilemma
In the final part of the composition, I introduced a gradual harmonic resolution through the sequential entry of string instruments. This built toward a consonant harmonic progression, culminating in the bass joining with an altered root note. This created a moment of emotional ambiguity and captured the psychological tension between resolution and unresolved transition.
In the final part of the composition, I introduced a gradual harmonic resolution through the sequential entry of string instruments. This built toward a consonant harmonic progression, culminating in the bass joining with an altered root note. This created a moment of emotional ambiguity and captured the psychological tension between resolution and unresolved transition.
The closing section involved another symbolic use of panning: the string ensemble moved from right to left (symbolising continued detachment), while the timpani moved in the opposite direction, representing the emotional pulse of moving forward into the unknown.
The closing section involved another symbolic use of panning: the string ensemble moved from right to left (symbolising continued detachment), while the timpani moved in the opposite direction, representing the emotional pulse of moving forward into the unknown.
Reciprocal Interpretation
Reciprocal Interpretation
As a second phase of the project, Jenny created a new print in response to the music I had composed for the first artwork. I intentionally did not share any detailed analysis of the music with her. This allowed her the freedom to respond intuitively, resulting in a visual work that was informed more by emotional response than analytical translation. This decision emphasised the dialogic nature of the collaboration and preserved the integrity of each artist’s independent voice.
As a second phase of the project, Jenny created a new print in response to the music I had composed for the first artwork. I intentionally did not share any detailed analysis of the music with her. This allowed her the freedom to respond intuitively, resulting in a visual work that was informed more by emotional response than analytical translation. This decision emphasised the dialogic nature of the collaboration and preserved the integrity of each artist’s independent voice.
Conclusion
Conclusion
This interdisciplinary collaboration has allowed me to engage deeply with visual art as a source of musical inspiration and narrative. By translating colours, shapes, textures, and symbolic elements into musical equivalents, I was able to construct a composition that resonates with and expands upon the emotional content of the original artwork. The experience reinforced my understanding of cross-disciplinary practice and highlighted the rich possibilities that emerge when artists engage in open-ended, intuitive collaboration across media.
This interdisciplinary collaboration has allowed me to engage deeply with visual art as a source of musical inspiration and narrative. By translating colours, shapes, textures, and symbolic elements into musical equivalents, I was able to construct a composition that resonates with and expands upon the emotional content of the original artwork. The experience reinforced my understanding of cross-disciplinary practice and highlighted the rich possibilities that emerge when artists engage in open-ended, intuitive collaboration across media.
Interestingly, Jenny’s interpretation was mostly as same as mine. And her second print included motion and transition which were the core of the other first print and music.
Interestingly, Jenny’s interpretation was mostly as same as mine. And her second print included motion and transition which were the core of the other first print and music.
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