“We like to say that the Friday Orange concert series are ‘Concerts for the Curious’ because they are always changing, always fresh. They are events curated from some of the most interesting people both from in and outside of Cincinnati, sharing their lens of the concert experience.” -Amber Ostaszewski Dryer, Director of Audience Engagement, Cincinnati Symphony Orchestra
Acrylic, monotype, relief print on hand-cut paper, conduit, papier mache forms, light
Photos courtesy of Waltz Photography, LLC.
Orchestral Fireworks was installed in the Edyth B. Lindner Grand Foyer at the Cincinnati Symphony Orchestra for Friday Orange, March 2019, part of the CSO Encore YP Series. The invitation to curate a pre-concert visual experience for the music hall audience was extended by Amber Ostaszewski Dryer, Director of Audience Engagement.
As the Friday Orange curator for March 2019, Salazar partnered with the Cincinnati Symphony Orchestra to create an experience that is a perfect visual match to the theme of fireworks. The centerpiece of the program is Janacek's Sinfonietta, accentuated by 25 blazing brass instruments and legendary English conductor Sir Mark Elder at the podium in a bombastic performance of The Midday Witch, a visual and audio spectacle inspired by Eastern European folklore. To read more about the Friday Orange series, click here. For information about this particular Friday Orange event, visit this link.
Suspended in the CSO Grand Foyer, the installation expands vertically from the floor and can be viewed from the second level balcony or looming overhead from the ground. Downstairs, viewers can get closer to the artwork to see individual marks and details. Looking up into the piece offers the experience of being dwarfed as if by a storm or witnessing the explosion of a firework. From above, the feeling of radial movement frozen in time is much more apparent at eye-level. The piece can be seen from near and far, in the round, and from all angles at every level. The visual experience takes on the fluid qualities of music, filling the air around us.
The foyer floor is pictured here, covered in shreds of paper cut out from between painted marks on the forms overhead. It gives the impression of detritus left from a real explosion of material.
During opening night, the artist’s studio was depicted in a performative act of cutting paper at a table on the symphony floor. The long, white sheet was being cut as it was already attached to the bottom of the sculpture. After the show, the table was removed, leaving behind shards of cutouts and paper rolled out across the center of the space. The act of working in the presence of symphony guests was to suggest the slowness of the process in comparison to the visual quickness of the final piece—a metaphor for the composition versus fleeting experience of music.
At the end of the story is
Petrichor: it covers their naked skin, mother and newborn.
Over hundreds of tiles blood-rust red, slick and wet,
Leap mirrored fractals from honeycomb tubes
Like a dream from eons ago when
Of bellowing thunder and unfurling roses—APPLAUSE—she arrived!
Nearing our ears now is the midday witch: her threat, to steal the bawling child.
In a circular dance—FASTER, FASTER—black brocade blends with the night.
A firework bursts overhead as the last veil drops, signaling trumpets to sound out victory, but
Down dive cables of lightning fire while violin bows stab the air, releasing a grand vibration.
In her hands are sparklers—she flails them about frenzied yet fearless, animal-like warrior.
Overhead and underneath the balcony we wait and observe her.
Now closer, creeping between white sheets, she glimpses her own face in the fractals and
Yielding a yowl at the sight, becomes primordial unity.
It is told by tragedians:
All that is sublime needs distance, a cavernous mouth that swallows our fears in beauty, and all that is human
Needs harmony, in peaceful chaos—applause, thunder, rest—the orchestra disappears far into another dream.