SELECTED WORK
BACH IN FOIL
MIXED MEDIA
Three posters on Johann Sebastian Bach, made by hand from aluminium foil.
Bach has counterpoint: one voice, then another, then another — each going its own way, and together they don’t fall apart. Take a strip of foil, then another, and weave them.
Counterpoint
Bach from the outside: a building. Heavy, layered.
Air
Bach from the inside: the air between the voices.
Glenn Gould’s Chair
The low chair of Bach’s most singular interpreter.
Golden Bee 17 — selected for the final collection of the World Biennale of Graphic Design Golden Bee 17, Moscow, in the nomination “Bach Forever” (curator: Andrey Gavrilov).
02 / The material
The foil is the ordinary kind, from takeaway food trays. It creases, catches the light and is different every time — impossible to repeat, which matters.
Each poster began as a physical object: cut, woven, crumpled and glued by hand, then photographed and composed digitally.
The source: a takeaway tray.
Foil study: weaving, punching, crumpling.
Two voices, woven.
03 / By hand
Cutting strips, weaving them across.
On the table: sheet, weave, tray.
Air, in progress.
04 / In motion
Counterpoint, animated.
Air, animated.
Why foil, and why the chair? Glenn Gould, Bach’s most singular interpreter, played all his life on a low chair his father had cut down for him — and, the story goes, rarely cooked, living on food from restaurants.
So the foil is about Bach, and a little about him.
05 / On the wall
The three posters together. Mock-up.
Technique: Hand-manipulated aluminium foil, photography, digital composition, animation
Selection: Golden Bee 17, nomination “Bach Forever”
Year: 2026
Mixed media
2026
Bachin Foil
Three posters on Johann Sebastian Bach, made by hand from aluminium foil.
Bach has counterpoint: one voice, then another, then another — each going its own way, and together they don’t fall apart. Take a strip of foil, then another, and weave them.
Three posters
Swipe →
Counterpoint
Bach from the outside: a building. Heavy, layered.
Air
Bach from the inside: the air between the voices.
Glenn Gould’s Chair
The low chair of Bach’s most singular interpreter.
Golden Bee 17 — selected for the final collection of the World Biennale of Graphic Design Golden Bee 17, Moscow, in the nomination “Bach Forever” (curator: Andrey Gavrilov).
The material
01
The foil is the ordinary kind, from takeaway food trays. It creases, catches the light and is different every time — impossible to repeat, which matters.
Each poster began as a physical object: cut, woven, crumpled and glued by hand, then photographed and composed digitally.
The source: a takeaway tray.
Foil studies
Swipe →
Weaving, punching, crumpling.
Two voices, woven.
A crumpled sheet, foil beads.
By hand
02
At the table
Swipe →
Cutting strips, weaving them across.
On the table: sheet, weave, tray.
Air, in progress.
In motion
03
Animated posters
Swipe →
Counterpoint, animated.
Air, animated.
Why foil, and why the chair? Glenn Gould, Bach’s most singular interpreter, played all his life on a low chair his father had cut down for him — and, the story goes, rarely cooked, living on food from restaurants.
So the foil is about Bach, and a little about him.
Read the full visual essay
→
On the wall
04
The three posters together. Mock-up.
Technique
Hand-manipulated aluminium foil, photography, digital composition, animation
Selection
Golden Bee 17, nomination “Bach Forever”
Year
2026
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© Liza Benesh