Intrigued by the visual aesthetic of modern classical music's notation, Kevin began experimenting with visual art. Kevin began his visual art career exploring visual aesthetics in experimental music, such as notation, beyond the boundaries the genre would allow. Quickly, Kevin's works are becoming popular, and his works have been shown in numerous Seattle locations. Common Area Maintenance Art Gallery displayed Kevin's series of "Graphic Parts" [a series of 4 drawings, each performed simultaneously by a single musician], sponsored by the Paul R. Judy Center for Applied Research. Recently, Kevin's works could be seen at the 2016 Alki Art Festival in West Seattle.


Go look up Mark Applebaum's "The Metaphysics of Notation". This is not a visual art piece, but a graphic score meant to be interpreted by performers. "Graphic Scores" always intrigued me. Made famous by Earle Brown and Cornelius Cardew, I found it interesting that the visual elements of graphic scores had little to do with traditions of the classical music cannon. I began to explore the metaphysics of notation (actual metaphysics, not the piece by Applebaum) and began the retrograde of the graphic score procedure. Thus, I would not be using non-musical symbols to represent the musical interpretation process. Instead, I would be using the visual aesthetic of notation to create experimentations and observations. This process pushes notation past its functional limits to observe a new understanding of a material as it innately is. My works are "Composed" in the strict sense one writes music. [i.e. informed musical structures and theory, etc.]