Artistic Approach

Critically engaging with the coeval interrelationships of sound, space, and corporeality, my compositional praxis activates architecture, acoustics, and hypergeometry to address processes that condition embodied happenings, while also taking account of that which lies beyond enclosure.

Approaching space as simultaneities, my compositional praxis also takes the form of drawing, positioning 3D modeling and design as ways to trace and re-imagine sonic-temporal contours of lived spaces that are rendered in isolation, or even erased. Unpacking such erasure through virtuality, where virtuality is addressed not as the “non-real,” but as a critical mode yielding traces of the erased to emerge and resist the conditions that are imprinted within the “real,” drawing-in-relation and modeling in my works are therefore not conceived as means to reconstruct a fixed soundfield within a fixed past. This aspect of my praxis is rather intended as a way to take account of that which may not be visible, but nevertheless is present in space.

Similarly, hypergeometry in my works is neither understood as a means-to-an-end, nor is it understood as a stasis to offer mappings of fixed cross-sectional relationships. While it has been an ongoing study developed on a parallel track, where I work on ways of visualizing timbre to re-think how discrete mappings of a given tuning can be re-imagined within continuous terms and through movement, hypergeometry has become in recent years for me also a way to activate auditory experiences to breach fixed mappings of space and to break free from tacit approaches to architecture as an enclosure. Alongside, hypergeometry has also become a way to re-think modes of movement and spatial perspectives dynamically changing in-relation, where time unfolds not as a unit for a single one-dimensional scalar, but as modes of memory that extend spacing to more than a temporal interval.

Engaging space with approaches as such, my compositional praxis is an effort to confront and take account of the conditions of erasure as well as the interrelations transpiring in space before and while the pen touches the paper, a sound is produced, or a speaker is installed. 

Stuttgart 2026