This work establishes a visual dialogue with Karlheinz Stockhausen's eponymous composition (1952-53), an emblematic piece of integral serialism.

Just as Stockhausen organizes his instruments according to a logic of progressive reduction, I have structured my composition in distinct horizontal layers. The three chromatic planes evoke this progressive decantation of sonic material toward purification.

The title "Kontrapunkte" takes on a literal meaning in the painting. The stains and gestural projections function as punctual sonic "events," recalling the way Stockhausen isolates notes in musical space.

The work does not illustrate Stockhausen's music: it shares its profound compositional logic, transposing into the visual realm the principles of discontinuity, spatial serialization, and progressive reduction that define "Kontrapunkte."