Supreme: Love in 80 Parts

Four movements, one visual journey

The Integrated Design class worked together to interpret the full album. Eunice was responsible for one excerpt from each movement. Her four panels belong to one sequence, but each listens for a different kind of motion.

I — Acknowledgement 06:56–07:19	II — Resolution 04:44–05:06	III — Pursuance 04:17–04:49	IV — Psalm 01:03–01:24

On the walls, movements I–II and III–IV are enlarged across two facing areas so every panel can be read as a major work.

The listening assignment

A Love Supreme was the source for this studio assignment. The four times above are relative to their individual tracks and document the passages Eunice translated. The museum does not play the copyrighted recording.

How music becomes image

Eunice did not illustrate instruments or tell a literal story. She listened to the texture of the music, the shape of sounds, the pace of rhythm, and the relationships between instruments. Those qualities became density, direction, scale, repetition, contrast and space.

Acknowledgement is playful and gentle, with repetition, light notes, piano and cymbal. Resolution moves in curves, circles and rising or falling spirals. Pursuance becomes fast, percussive, anxious, bursting and cosmic. Psalm opens into light, hope, distance, a different world and release.

The process behind the finals

The earlier shape studies and cut-paper compositions prepared the visual language. For Supreme, Eunice tested tiny compositions, made irregular marks with physical tools, scanned them, and combined their human texture with crisp vector forms.

Love in 80 parts: the listening notes

Before resolving the four panels, Eunice gathered twenty words and phrases for each movement. Read down each column as a score for the eye: feeling, sound, shape, pace and motion. Obvious spelling has been lightly tidied, but the short phrases remain hers.