Initially, I found it difficult to not view this painting as a visual score, and so my original interpretations were conceived as either a 'top to bottom' or 'left to right' view of a piano roll score. This lead to the use of a sequencer that tried to mimic the rhythmic aspects of the painting. I later abandoned this approach in favor of a more random placement of sounds.
Individual sounds representing the blue and red elements (or blue, red and ochre, depending on what you've read) were created on a modular synthesizer, while the sound of the black elements was created with a Lorre-Mill Double Knot. The noise floor is intentionally high throughout, representing the off-white background of the painting itself.
- Pulsewidth, 2018