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• Music/Ustvolskaya/Painting (2014- )
• Little paintings (2014- )
• Translation and Reprise (2013- )
• Music/Feldman/Painting (2007- )
• Studio walls (2002-  )
• Drawing (2002-  )
• Recording Surface (2002-2006)
• Video/Vertov/Painting (1997-2001)
• Video/Painting (1990-1996)
• Painting (1989-1990)


Since 2007 a new cycle of work explores the difficult relationship between painting and music, one that has undeniably influenced much of the history of abstract art. This relationship between music and painting comes from a passion for the American composer, Morton Feldman (1926 -1987) who was himself inspired by the abstract painters of his day. With the series For Feldman, symétrie inachevée, (For Feldman, Unfinished Symmetry) 2008, Mario Côté set out to transpose onto canvas a visual interpretation of Feldman’s piece Crippled Symmetry, 1983. This impressive musical work, easily more than 95 minutes in length, was composed using a limited palette of four notes. In 2010, Côté pursued the work of transposing musical notations into graphic ones on canvas with another piece by Feldman, Palais de Mari (1986). In this case, the complete work was transposed into painting and exhibited, accompanied at the time of the vernissage by pianist Jacques Drouin’s performance of the composition. Recent paintings again take up one or two bars of the score and are inspired by the mode of musical transposition called augmentation. This is a process of increasing the length of the notes, mostly doubling the value of each one. On each canvas, geometric shapes and coloured spaces resolutely transcribe “the space between sounds”, a resonance that suspends painting in much the same way Feldman’s music suspends sounds.

photo credit Guy L'Heureux