‘Visual Transposition’ works to theorise a relationship between music and fine art, through composition analysis. This theory was conceptualised in 2017 and ongoingly applied to diverse genres of music, testing its capacity. ‘Visual Transposition’ acknowledges Mikalojus Čiurlionis, as the first artist-composer to investigate the relationship between music theory and semblance structure to communicate the intent of the music. Ernest Percyval Tudor-Hart, who used music as a point of abstraction to mathematically structure paintings, forming manifestos per each colour Synchromy. Comparatively, my theorem and Hilma af Klint’s manifesto process, follow codified methods of practice using non-discursive languages built on visual languages in society. 

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Questioning possibilities of visualising music, I experimented with modern pop. Prints made in 2019, using detailed music theory, further developed the theorem via the use of my structured stencil methodology of stencil layering; ‘Textural Landscape’, ‘Thematics’ and ‘Medium Overlay’. Since then, serigraph techniques became pivotal due its similarities with music composition. For example, stencils are printed as ‘Bar Studies’ mimicking the structure of music notation whilst instruments share semiotic representation with shapes. In this context, serigraphy enables precise layering which mimics decisions composer’s make regarding instrumental placement, by extension formulating texture in both music and my artworks.