Described as “sound sculpture”, my audio art is distinguished by its minimalist approach to sound environments at the intersection of analog and digital.

Although we experience an endless stream of diverse sounds, we are conditioned to tune them out. I transform/manipulate/recycle sounds of everyday life to re-present them in a new light within an “immersound” context (a dedicated listening environment, which focusses on exploring new perceptions and experiences of the listening process). My sound processing has slowly evolved into a peeling away of each superfluous layer until I reach the distillation of each sound: the apex of a reductionist approach and the essence of my minimalist aesthetic.

Affected creatively by synesthesia in regards to architectural spaces is the driving force that compels me to pursue and create these sound explorations. An architect designs works that occupy spaces; I create sound sculptures that fit in the flow of time and perception. For me, the environment architecturally shapes the pieces and how they will be heard.

In installation and concert works for instance, I position speakers in specific ways to respond to the architecture, thus creating a sound sculpture without it being an absolute object.  Rather, it is about presenting a work that is not absolute in its sound but, rather, aurally mutable depending on one’s placement in the space.

Presenting quieter works engages listening habits in a different manner. Quieter dynamics confront one with one’s act of listening, while louder dynamics are much more physical.

While my recorded works evolve on the quieter side of dynamics, my concerts are much more physical. I enjoy using the architecture to “play” the space in order to accentuate its properties. The concert space is, for me, an instrument that I use to play with both: spaces between notes and spaces between dynamics. 

I seek to make people stop and listen … simply listen.