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 communicate using tools that engage the body and offer nuanced control over sonic palettes and expressive 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: a fragment of melody, a rhythmic cell, prepared field recordings, or simply the instrument itself. Each piece unfolds through improvisation, shaped by the inner voice of the instruments, the attuned sensibilities of 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 Buchla's instruments, particularly the Music Easel, is an 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.
Conceptual Threads
My work is shaped by recurring inquiries into ritual and audience proximity, queer lineage and transmission, settler–Indigenous relationships, and the tension between embodied knowledge and institutional authority.
I am drawn to pre-history, folklore, eroticism, and the occult as ways of thinking about continuity and disappearance. I’m interested in how performance can evoke and interrogate nature and our complex relationship to it.
The unreliable narrator, silence, and the collapse of performer–audience boundaries recur throughout my work, alongside questions of ritual, intimacy, and collective physical experience.