At the heart of my artistic practice is the exploration of time and temporal spaces, akin to the binary language of computers: on or off, 0 or 1. When is a musical impulse triggered? What happens between sounds, in the space of silence? These questions drive my experimental work.
The musical material originates from the double bass, a prepared guitar, or the computer. It ranges from precise percussive impulses and microtonal monophony to dense sound clusters, created through extended playing techniques and preparations. With this library of sounds, I explore how these musical events can be placed on the timeline and how they interact with each other, always mindful of what occurs between the impulses.
How much silence can a composition withstand? How much inaction can I, or the audience, endure? This investigation is an ongoing process, comparable to the weaving of textile art, concrete art, or minimalism, where structure, rhythm, and emptiness form unique and intriguing textures and temporal layers.