Maryan Besaga

In Fantasia. Bach, the musical principle is transformed into a complex system of chromatic rhythms, repetitions, and pauses. The composition unfolds through horizontal registers in which short sequences of colour alternate with large black planes.

Black becomes one of the principal structural elements of the work. It does more than separate the coloured fragments; it creates pauses, moments of suspension, and points of concentration. Against this background, saturated blue, green, yellow, red, and violet modules acquire a particular intensity — like individual voices emerging from silence and returning to it again.

Despite its geometric rigour, the composition is not governed by simple repetition. The rhythmic sequences are constantly changing: contracting, expanding, shifting, and breaking off. This creates a sense of variation and polyphony — several visual “voices” coexist within a single structure, each retaining its own rhythm.

Fantasia. Bach continues the central exploration of the Transformation series — the search for correspondences between sound, colour, form, and time. The musical work becomes not a subject to be depicted, but an impulse for constructing an autonomous painterly system.