Out

Tudor’s final work was a series of visual art made in collaboration with Sophia Ogielska. Using his old diagram of Untitled as material, Tudor aimed to make a tablature-like map detailing the actual way he performed the 1972 no-input piece. Ogielska remembers a silent concert Tudor performed using the diagram printed on transparencies and projected in human scale onto the wall of his room. At the end, they ran out of time, and Tudor had already lost his eyesight when the Maps were finally completed. However, Tudor’s insistence on specific colors on the transparencies that would cast colorful shadows, a concern that appears to have been rooted in his synesthesia, resulted in the use of special paint that, as a byproduct, enabled the blinded Tudor to touch the surface of the small-scale prototypes that Ogielska had made with his fingertips and sense the work through auxiliary channels. This fact triggers a reflection, for this entire study, which began through an accidental encounter with Tudor’s materials, has similarly been a product of countless by-products which were neither intended nor entirely fortuitous, but rather influenced from afar through many seeds planted in advance.