Bio

My sonic work plays with the paradox of “natural/ unaltered” vs. “technological/ doctored”, seeking to blur the distinction and reside in the ambiguous between, while remaining critical of all forms of sonic imperialism. Drawing inspiration from disparate sources (acousmatic composition, field recording and soundscapes, minimalism to maximalism, New Music practices, traditional folk music, pop, modular synth, sound art, as well as previous study in composition and electroacoustics), I aim to create a participatory experience for all involved, be it a multichannel setup, a collaborative installation, a soundtrack, or a pop album. I relish the folk tradition of storytelling in traditional performer-audience concerts. A decade of hitch-hiking, busking, and performing acoustic music grounded my musical focus in the everyday relationships, and power of sound to create a shared ritual space across class and other arbitrary social strata.

I am interested in evoking this visceral experience of sound in different settings. This serves as my personal and intangible entry point into the direct experience of sound, which transmogrifies the representation of experience. I​n a sense, all of my work centres around learning how to listen & facilitate a sensitization to the sonic environment.