The sound composition I created grew directly from my visual experience of Agnes Martin’s Summer. At first glance, the grid seems strictly geometric—squares, lines, dots—but as one approaches, the slight imperfections in the lines and the subtle tonal shifts reveal the human touch behind the seemingly precise structure.

The white and off-white dots guided me in bridging the visual and sonic realms: the granular synthesis reflects the painting’s microtexture, while the nuanced variations in the blue background form an acoustic backdrop. The “perfect–imperfect” lines inspired sounds reminiscent of scratching or tearing, and the grid itself organizes the sound in the same way it structures the painted space.

The composition seeks to convey the sense of undulation and balance that defines the work, creating a dialogue between visual and auditory perception. My intention was to honor Martin’s vision while developing a personal audiovisual narrative, where the viewer’s gaze and the sound interact, inviting the audience to perceive the painting’s delicate subtleties not just with the eyes, but with the ears as well.