Piano Man grew from a period of returning to the keyboard after time away from it. There was no fixed sketch or idea at the beginning—only the desire to create on a larger scale and let the painting find its own direction.
On a 100 × 100 cm canvas, I returned to the expressive brushwork and layered technique that had appeared in earlier works such as Holland’s Tulips, Cherry Blossom Luna, Night City and Autumn Leaves. As the colour, movement and texture developed, a figure emerged almost instinctively: a person at a yellow piano.
Only later did I recognise him. The dark hoodie, the posture, and the atmosphere belonged to me. Piano Man became a reflection of those moments when I sit at the keyboard and play blues—not necessarily following a plan, but allowing emotion to move through sound, hands and rhythm.
The painting is vibrant because that experience is vibrant: a meeting of memory, improvisation and feeling. The colours held within and around the figure are not simply decorative; they represent the emotions released through music. As the blues fills the room, colour fills the figure too—reaching into an inner void and giving it shape, warmth and life. Piano Man is not simply a man playing piano; it is the inner colour of music when words are not enough
Piano Man grew from a period of returning to the keyboard after time away from it. There was no fixed sketch or idea at the beginning—only the desire to create on a larger scale and let the painting find its own direction.
On a 100 × 100 cm canvas, I returned to the expressive brushwork and layered technique that had appeared in earlier works such as Holland’s Tulips, Cherry Blossom Luna, Night City and Autumn Leaves. As the colour, movement and texture developed, a figure emerged almost instinctively: a person at a yellow piano.
Only later did I recognise him. The dark hoodie, the posture, and the atmosphere belonged to me. Piano Man became a reflection of those moments when I sit at the keyboard and play blues—not necessarily following a plan, but allowing emotion to move through sound, hands and rhythm.
The painting is vibrant because that experience is vibrant: a meeting of memory, improvisation and feeling. The colours held within and around the figure are not simply decorative; they represent the emotions released through music. As the blues fills the room, colour fills the figure too—reaching into an inner void and giving it shape, warmth and life. Piano Man is not simply a man playing piano; it is the inner colour of music when words are not enough