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Silent Music Seeing Sound

Square Graphic_Silent Music_1

This exhibition showcases my further use of relief printing with Raymond, using the laser-cutter to cut a number of woodblocks that we can print with, making decisions about colour and arrangement of shapes very quickly and spontaneously.  I’m really looking forward to hearing them on Friday!


Walking Through

Thank you to everyone who travelled from Glasgow and Edinburgh for the opening of this exhibition at Linlithgow Burgh Hall. It was so wonderful too that the local beekeepers came!

Under Bridge Gate

I’m showing a series of graphic scores made in collaboration with Raymond MacDonald at The Briggait in Glasgow. This is the WASPS flagship building. The old fish market that traded under the bridge. Now refurbished by WASPS to provide office space, artists’ studios and exhibitions space. The exhibition is on the wall and open to the public from March 5th. 9.30-5 Monday – Friday.

title outside

Our opening event and musical performance is postponed because of the snow until March 16th, 6 – 8pm.  George Burt on guitar, Una McClone on double bass, Stuart Brown on drums, and Raymond saxophone.

Under Bridge Gate is the title of the new piece made using imagery of the wonderful roof of The Briggait and will premier.




Drawing Sound is now open.

Drawing Sound opened at the Kleinert James Center for the Arts in Woodstock, NY, August 25th, 2017. It is the first exhibition of graphic scores I have produced with American composer and musician, Marilyn Crispell and brings this work together with work I’ve made with Raymond MacDonald as, Running Under Bridges. The two series of images worked well together, contrasting colour and tone and methodologies but always returning to the grid-like matrices and wonderful musical improvisations of the musicians.

The scores made by Running Under Bridges are created to be played by any musicians who like to improvise and respond to image and one another as they perform. They have different instructions that indicate time, instrumentation and type of musical material. They are abstract and allow the improvising musician great freedom for creativity as they play.

Gradations of Light, made with Crispell, were intricately scored by her to indicate how she herself would play them. Recorded as solo pieces and then again with David Rothenberg as duets, on clarinet and laptop electronics, they are thematic, around the times of day, changes of light and response to nature. Rothenberg is known for his improvisations with cicadas, whales and birds which made him the perfect partner to duet these pieces.

The opening performance in Woodstock featured works from Running Under Bridges, including our new Blue Fugue and Yellow Fugue, and two duets from Gradations of Light.

Drawing Sound

Gradations of Light will be exhibited along with new works that I’ve made with Marilyn Crispell this year at an exhibition called Drawing Sound at the Kleinert James Center for the Arts in Woodstock, NY, August 25 – October 15, 2017.   New works also by Running Under Bridges (Ganter – MacDonald), include Yellow Fugue and Manuscript 2.

Marilyn will perform some of Gradations of Light with David Rothenberg on clarinet and electronics. Raymond MacDonald, Scottish guitarist George Burt and American drummer Douglas James will also perform new pieces with Marilyn on the opening night.



11am, graphic score by Marilyn Crispell and Jo Ganter, 100 x 150cm



Yellow Fugue

Yellow Fugue, a graphic score by Jo Ganter and Raymond MacDonald, 160 x 100cm

Gradations of Light


Gradations of Light, is a suite of seven graphic scores made in collaboration with American pianist Marilyn Crispell. Marilyn is based in Woodstock NY and I visited her in February this year for ten days. We worked intensively to create a number of ideas for images and sounds. Woodstock is surrounded by trees and I walked through forests every morning which I realise inspired some of the ‘grid’ matrices I used for the scores, especially Morning. Marilyn introduced different calligraphic lines and geometric shapes to each matrix, with the sounds she wanted to play already in mind. Each image was made in response to a time of day: moving from dark to light and back to twilight.

We will be exhibiting Gradations of Light at the Kleinert/James Center for the Arts in Woodstock, NY, August 25 – October 8 2017.

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We had one day in a recording studio for Marilyn to play the pieces solo, and she invited David Rothenberg to perform duets with her. In the end there are recordings of all seven scores played solo, and with six played as duets. Marilyn creates a wide range of sounds on the piano, playing the strings as well as the keyboard. David played clarinet, following the long winding black lines that appear in Dawn with beautiful, long, undulating notes.  He also created a number of digital beats/pulses to reflect the repetitive nature of the ‘grids’.  Not how I imagined a recording studio!  A beautiful and creative space to work in.

Impact 9 International Printmaking Conference

Entrance R & Jo

I’ve recently returned from Impact 9. The international Printmaking Conference, 22nd – 25th September 2015, was hosted by the China Academy of Art in Hangzhou, China. Hundreds of artists, academics and traders were given an incredibly warm welcome by the CAA’s printmaking students and staff. This was the venue for the second exhibition of graphic scores, I made in collaboration with Raymond MacDonald, and previously exhibited at the Talbot Rice Gallery in Edinburgh. Raymond performed the scores with George Burt, guitarist, from Scotland, and, Laofu (guitar), Yu Chen (saxophone) and Li Ping (drum) from Hangzhou. It was a wonderful meeting of musical talents, with the scores being interpreted, and translated, by the Chinese and Scottish musicians.

The first rehearsal with all the musicians present was in the exhibition space, on the afternoon of September 24th. People listened to the musicians practice and asked questions throughout the afternoon. There was a final performance at 3pm, followed by more discussion.

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In the evening, the musicians performed at, Line Out, a regular music venue in Hangzhou. The first set included a Manuscript, one of the graphic scores that had been played in the afternoon and that had helped the musicians to play and improvise together.

2nd set 2