I have been working on studies, panels and structures which translate twelve-tone numerical sequences into visual form, taking them through permutations, inversions and regressions. The art of the composer lies not only in the creation of the melodies, rhythms and harmonics which constitute a work, but also in making decisions about which instrument or instruments are appropriate to the work. In this parallel universe the artist has had to make decisions about format, colour, size, materials. This has been the other element of my exploration.

My use of metallic pigments—bronze and aluminium powders and graphite—in these panels has to do with my initial perception of the quality of the sounds of musical tones. There is a possibility that as the work progresses colour may become another element.

The other aspect of the work I have done over recent months is the return to what I call "installed constructions" — works which combine and contrast drawing directly on the wall of the gallery with three dimensional forms made of lines, thereby creating a drawing in space. There is a quality of the ephemeral in these works which perhaps relates to the performance of a musical work—now you see/hear it, now you don't.