The second session consisted of a piano (quiet) performance of Beyond Winter. Nao exchanged the large, thick sticks and solid wooden blocks seen in the first performance with softer bamboo brush sticks and plastic beaters. There was a noticeable difference from the new sticks in the second performance – the bamboo brush dispersed the previously strong bass, allowing the bells to be heard much more prominently. Nao’s physical movements were also much smaller during this performance.
Both artists spent several minutes listening to the second performance before starting to interpret what they were hearing into art. Rubbena’s final piece was largely similar to her first one; however, the yellow arches and rhythmic fragmented lines were much more small and tame to reflect the softer dynamic of the music. Overall, the brighter blocks of colour on this canvas are much more balanced and there are no sharp edges to the shapes, making the painting
softer and gentler to look at.
Lisa’s response to the second performance was different to Rubbena’s. She not only noticed the difference in dynamic, but also identified that the composition itself was exactly the same, so in response covered the entire canvas with a bold red paint to indicate the deep levels of strength and warmth in the composition. Lisa later explained that she felt the colour was too strong for this artwork, wishing that she had chosen something milder instead. On the other hand, the colour still resonated with her on an emotional level. As Lisa felt that she knew the piece very well by this point, she added grid lines to show organised patterns and predictability. The red lines in this artwork represent the body of sound, whilst the golden and yellow coloured specks highlight the newfound prominence of the bells.
Overall, this project has been inspiring. It has revealed that changes in dynamic (and thus mood and colour of the music) can be identified and interpreted by both Deaf and hearing people.