The Shape Of Jazz To Come
,
2026
Patrick Piccinelli
The Shape Of Jazz To Come
2026
Acrylic paint, ink, pigment, varnish, collage
Acrylic paint, ink, pigment, varnish, collage
50
50
X
X
65
65
Available
This work on paper is inspired by Ornette Coleman’s album *The Shape of Jazz to Come*.
The album *The Shape of Jazz to Come* (Atlantic, 1959) is groundbreaking because it abandons the harmonic grid as a mandatory structure.
In my painting, we find this same logic: there is no classical perspective, no centered or balanced composition. The brushstroke traverses the surface just as Coleman’s melody traverses the chords—freely, sometimes ignoring them, sometimes grazing them.
The ink splatters are the pictorial equivalent of Coleman’s broken ornaments on the saxophone: those little cries, those rubs, those notes that land beside the beat and yet are spot-on in their expressiveness.
I share the same stance as Coleman: that of an artist who trusts the initial gesture, who accepts that form emerges from impulse rather than calculation.
This work on paper is inspired by Ornette Coleman’s album *The Shape of Jazz to Come*.
The album *The Shape of Jazz to Come* (Atlantic, 1959) is groundbreaking because it abandons the harmonic grid as a mandatory structure.
In my painting, we find this same logic: there is no classical perspective, no centered or balanced composition. The brushstroke traverses the surface just as Coleman’s melody traverses the chords—freely, sometimes ignoring them, sometimes grazing them.
The ink splatters are the pictorial equivalent of Coleman’s broken ornaments on the saxophone: those little cries, those rubs, those notes that land beside the beat and yet are spot-on in their expressiveness.
I share the same stance as Coleman: that of an artist who trusts the initial gesture, who accepts that form emerges from impulse rather than calculation.
