What are the main instruments you’ve chosen for the soundtrack, and how do you feel they resonate with the visual experience?
LL: The soundtrack of this work of art develops by following two main narrative concepts: the human and emotional condition of the artist and his way of expressing his sensitivity through creative action.
The clear image of Van Gogh is one of often looking for understanding in other artists, though he ends up finding solitude as his only possible condition — both in a positive and negative sense — and that is the constant that connects the two concepts. Be it the introspection he often abandons himself to or isolation in nature in order to paint it in all its power, Van Gogh is alone in his uniqueness and psychic brittleness. He’s alone with his way of thinking ahead of his time.
Only while creating, while painting can one become many, through the repetition of the strokes, the thickness of the matter on the canvas, the use of colors. This process of the multiplicity of inputs is represented in the music for this exhibition by the combination of solo pieces and pieces for ensemble. There are combinations of choir and solo voice, piano and synths, strings and symphonic orchestra. And as the instruments merge in order to create richer and more complex timbres, a new meaning insinuates and holds his timeless art still.
The classic is given new nourishment, written anew, again and again, styled inside our production, it is something alive and contemporary. All this, together with a sophisticated selection of pop songs that could be played on the radio even today, puts in our minds the seed of intimacy, moving us all, in spite of cultural or age differences, towards a wider sense of belonging.