“Forever In Love In Forever”
poster edition of 250
8.5” x 11”
Installation at Arthouse, Austin, TX
audio CD 12:54
Audio on UBU
Forever In Love In Forever
“Forever In Love In Forever” was my contribution for a collection of background listening pieces for a project titled “Lounge” Curated by Regine Basha for the Arthouse, Austin Texas November 2004. Kenny G’s music is ubiquitous and represents an idea or state of mind of being on hold, in the waiting room, or in an elevator probably more than any other performer. It also might suggest a kind of anxiety of empty spaces and technology, a pathology that is manifested regarding the need of filling spaces, and the fabricated desire to sooth, and to be pacified at all times.
“Forever and Forever in Reverse” is based on a song that Kenny G wrote for his wife who he refers to as his “doll”. Every time I have ever seen a picture of Kenny G, he is grasping his instrument. I am interested in the objectification process and have concluded and propose that he is also forever in love with himself and that the instrument is actually a prosthetic. I wanted to bring out in my song the repressed aspect of narcissistic love.
“Forever and Forever in Reverse” is the superimposition of the forward version with the reversed version of the song played at the same time. Forwards and backwards, blowing and inhaling simultaneously, a physical impossibility, but perhaps relevant in how it might refer to the idea of the return of the repressed, circular breathing, and noise abatement. G’s work is emotive, resolved and optimistic, I wanted to evoke a kind of optimism in reverse, or negative infinity. I am also interested in the idea of “unhearing”; there is a cancellation process that also occurs not unlike noise reduction devices that emit the counter frequency in order to eliminate the noise. I wanted to eliminate the song by cancelling it out with itself.
“Forever in Love Sustained” is a dramatization based on the idea of how Kenny G is known for how long he can sustain a note with circular breathing. After a brief intro, the highest note is elongated for three minutes (he actually held a note continuously for 45 minutes) with subtle shifts in the reverberation effect, the sound causes gradual phase dissonances, perhaps referring to Steve Reich and his phase experiments from the late sixties. I wanted the song to go from the most consumable, the least avant-garde, to the highest idea or form of an avant-garde sound.
“Forever in Love Filtered” uses a reverse version of “Forever in Love” and through the use of celestial filters and effects; I wanted to repair the original flawed version, which I am repulsed by, and transform it into something that evokes a more complicated emotion or sense of melancholy and beauty.