The Memory of Water (Mozart- Symphony No. 40) • 12x12"

5a Nikki Vismara_%22The Memory of Water (Mozart- Symphony No. 40)%22_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019_exterior small.jpeg
5. Nikki Vismara_The Memory of Water (Mozart- G Symphony)_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019_interior.jpg
5. Nikki Vismara_The Memory of Water (Mozart- G Symphony)_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019.jpg
5a Nikki Vismara_%22The Memory of Water (Mozart- Symphony No. 40)%22_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019_exterior small.jpeg
5. Nikki Vismara_The Memory of Water (Mozart- G Symphony)_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019_interior.jpg
5. Nikki Vismara_The Memory of Water (Mozart- G Symphony)_12x12x2%22D_Acrylic, acrylic glass, mirror tile, and resin on wood panel_2019.jpg

The Memory of Water (Mozart- Symphony No. 40) • 12x12"

$650.00

Dimensions: 12”W x 12"H x 2”D

Medium: Acrylic, acrylic glass, mirror tile, and resin on panel

Additional: Signed & dated on back • Painting comes wired & ready to hang

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This series is based on images the Japanese scientist & author Dr. Masaru Emoto’s photographs of water molecules. Dr. Emoto hypothesized water has a consciousness capable of changing its expression when exposed to music, photographs, and language. Water exposed to “positive” factors such as classical music or words of gratitude result in aesthetically pleasing patterns, while negative elements like death metal music and offensive language generate unattractive imagery.

This work was created for the exhibition Water Music at DZINE Gallery in San Francisco. The exhibition’s title is a reference to orchestral compositions by the composer Handel, and the paintings in the show were based on images of water’s molecular response to music.

Water is the most powerful solvent on Earth, yet it is also odorless, colorless, and tasteless. I wanted the paintings to reflect this feeling of being both durable yet delicate. To convey these opposing sentiments, I layered paintings done on sheets of acrylic glass on the mirror. The materials create depth, and the exposed mirror reflects its surroundings so the painting is constantly changing even after it has left my studio. The viewer is reflected when looking at the painting, and conceptually this allows the audience to also partake in the artistry. For example, the blue in several of the photographs is the reflection of the blue sky when the artwork was photographed outside.