My practice begins with touch. I work with instruments that are physically responsive, sonically rich, and designed for immediacy. Whether it’s the tactile glide of a ribbon controller or the responsive gestural dialogue offered by Buchla instruments, I rely on tools that engage the body and offer nuanced control over timbre and articulation. These are instruments I’ve spent years with, building fluency through repetition and intuition. The limitations of each system allow me to work with greater depth, rather than chasing endless options.
I approach performance as a live construction. I arrive with a toolbox—maybe a fragment of melody, a sequence, a set of samples, or simply the instrument itself. Each piece unfolds through improvisation, shaped by instruments, attuned interdisciplinary collaborators, and the charged tension of performing in close proximity to the audience. I’m drawn to subverting expectations: building emotional tension and intimacy, disrupting the traditional spectator role, and crafting moments that hover between sonic illusion and ritual.
Some instruments have become central to this approach. What continues to draw me to the Buchla Music Easel is its unmistakable voice: timbrally rich, tactile, and deeply responsive to performance nuance. My connection to the ondes Martenot began through research into early electronic instruments and deepened as I explored its expressive capacity and emotional immediacy. That path eventually brought me to Tiohtià:ke/Montréal, a city with a vibrant electroacoustic tradition and a rare community of ondists, composers, and collaborators.
I’m interested in how sound creates presence. I work toward conditions that invite a shift—when attention, sensation, and sound align into something felt.