Ray 10 — Studio Journal

Ray 10

There are moments when an instrument stops being an object and starts behaving like energy.

Ray 10 came from that space.

This piece isn’t about representing a guitar in a literal way. It’s about what happens inside the sound—where vibration bends form, where color replaces edges, and where music becomes physical. I wasn’t chasing clarity. I was interested in pressure, movement, and release.

The red and blue fields push against each other like opposing forces. Lighter tones act as conduits—paths where energy escapes. What’s left is not a clean image, but a trace. A residue. Almost like sound leaving a mark after it has already passed.

I’ve been moving away from depiction and toward experience. Ray 10 lives in that shift. It sits somewhere between instrument and body, memory and motion. It’s closer to how music feels than how it looks.

The title is intentionally restrained. Ray 10 suggests a frequency, a transmission, or a measured signal rather than an explanation. That tension feels honest to the work.

This piece marks another step in a new visual language I’m developing—one where abstraction carries weight, texture carries emotion, and sound is allowed to distort the image instead of the other way around.

— Bill Sanders