Maryan Besaga

In Little Prelude. Bach, the musical principle is transformed into a system of colour relationships. The composition is constructed from horizontal rows of geometric modules, in which each plane of colour functions as an individual element within a more complex rhythmic structure.

Sequences of red, yellow, green, light blue, blue, and violet vary in width and duration, creating a distinctive visual rhythm. Some chromatic motifs recur, while others are interrupted or develop into new combinations. This creates a sense of several parallel lines unfolding independently while remaining part of a unified whole.

The black planes acquire particular significance. They create pauses, separate the chromatic sequences, and at the same time hold the composition together. Colour and the black field relate to one another like sound and silence — two elements essential to the perception of musical rhythm.

The reference to Bach does not imply a literal translation of a specific musical composition into painting. Rather, the work searches for a visual equivalent of principles associated with his music: order, repetition, variation, and the polyphonic interaction of individual voices.