Randy Gibson singing <em>Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence</em> in a setting of <em>Quadrilateral Starfield Symmetry A:L Base 11:273 in The 181 Profusion</em> at the 2016 Avant Music Festival
Randy Gibson singing Apparitions of The Four Pillars in The Midwinter Starfield Symmetry under The 72:81:88 Confluence in a setting of Quadrilateral Starfield Symmetry A:L Base 11:273 in The 181 Profusion at the 2016 Avant Music Festival | Photo by Steven Pisano for Avant Media

Since 2010 my work has been concerned with a single set of harmonies I call The Four Pillars: four types of intervals, exponential multiples of 3, 7, 9 and 11, that can be drawn from overtone ratios of a single fundamental frequency. My work unfolds at a glacial pace, treating time as a defining factor in thematic development and as a tool for the precise tuning of pure intervals.

My practice explores the potentials of specific just intonation relationships through the use of sine waves in combination with live performers and select harmonic filtering of live or pre-recorded sound. Since my first compositions, I have been concerned with the complete performed experience. My most recent works extend these intervallic interests into the realm of projected and applied color.

Interrelation, as a whole and within a composition, is paramount. Since 2003 I have studied with seminal Minimalist composer La Monte Young and Marian Zazeela, one of the first artists to use light as her medium. Their uncompromising approach to creating work – perfecting a single concept over years and even decades - inspired me to create The Four Pillars.

My art exists as an ecosystem of related works which continue to refine their systems. My visual work relies on the same compositional principles that guide my choices as a composer. I am fascinated with memory and how our perception of events can change and evolve over time (both short- and long-term). By steadily focusing my self-imposed compositional rules, I have come to understand that my primary medium is time itself. I create situations where sound, light, time, and color work cohesively to encourage chronostasis, a Ganzfeld for time where the world seems to come to a halt in a crystalline moment.

For more information on my current projects, please visit the project page