While often flexible in nature to meet the demands of ensemble and performance capacities, my music centers primarily around the relationships between my practices in instrumental improvisation, composition, recording/studio technology, and deep listening. This presents itself as experimental electroacoustic music combining pre-conceived structures and improvised ideas on live instruments. One major concept I approach in my practice is the effect of electronic designs on the human artistic voice; where does electronic influence amplify vs. hinder, create vs. destroy, accent vs. overtake, and how does the advent of continued electronic innovation create new musical dialects? Other ideas and processes I associate with my work include the effect of contemporary musical structures and non-musical sound on human states of being, place-based recording and its artistic uses, and the make-up, development, and general subjectivity on what comprises a 'beautiful' sound [musical or otherwise].
