Study for Trumpet Player 1998

Editor: Here we have Ernie Barnes’ "Study for Trumpet Player," painted in 1998 using acrylics. It feels both melancholic and full of suppressed energy to me. What do you see in this piece? Curator: Melancholic, yes! But I also get a strong sense of focused determination. See how his body is entirely given over to the music, leaning in, almost becoming one with the instrument? I feel the musician has transcended, you know? Music is his refuge, a whole universe contained in a few valves and a brass bell. He could be anywhere, anytime, when he is playing. Notice, too, that signature Barnes’ elongation in the body and limbs, a kind of visual echo of a musical note stretching out. Editor: That's interesting. I hadn’t considered how Barnes's style contributes to that sense of extended sound and feeling. What about the setting? The background is pretty simple. Curator: Yes, the backdrop is minimal, a sort of atmospheric wash. It doesn't tie us down to any specific location, which amplifies that feeling of universality, right? Like jazz itself, born from specific experiences, yet speaking to everyone. The painting asks, perhaps: What does it mean to lose oneself in creativity? How can a song set us free? And I love how Barnes encourages these sorts of thoughts. Editor: It makes me think of all the practice, the unseen hours that lead up to the performance. It adds a layer of intimacy, like we’re glimpsing a very private moment. Curator: Exactly! The beauty of the in-between, the messy middle where the magic happens. Barnes makes us feel part of that intimate process. Editor: Well, I’m walking away with a new appreciation for what goes into the music – a depth of practice and commitment and vision! Curator: Same here, Ernie continues to provoke these really nice visual connections, things to cherish as well as reflect upon!