ARTISTIC STATMENT
As a composer, my work is rooted in the principles of representational art, mirroring the perceivable world through music. Like a painter capturing the essence of a scene, I seek to distill elements of reality—data, emotions, and narratives—into musical form. To achieve this, I engage with diverse data sources that represent the subject, including molecular structures, dimensions, cultural associations, mathematical patterns, and philosophical ideas. Each piece becomes a research project where frequencies replace words, translating complex subjects into sound. By remaining true to my subject's characteristics, I invite listeners into an auditory exploration that is both precise and expressive, revealing layers of meaning.
My compositions provide a sonic description of natural phenomena in our perceivable reality, particularly through a polytempic polymicrotonal approach. This methodology arose from a deep curiosity—born of hardship and a need to understand the world's mechanics—that continues to drive me to question and closely examine the structure of reality, rather than accepting its face-value presentation. I create musical experiences that reflect the often chaotic and conflicting systems underlying existence. My work channels the beauty and tension within these interlocking systems, encouraging listeners to confront the dissonance and nuances of the natural world. Through layered tempos, varied tuning systems, timbral juxtapositions, and sound design, I attempt to unveil a complex soundscape that depicts life’s inherent objective reality, encouraging the audience to adopt a focused, curious, and open state of thinking.
My process for creating a piece is much like developing a research paper. Before putting anything on paper, I dedicate time to conducting research in order to represent my subject as accurately as possible. For example, in one of my favorite pieces that I recently composed for flute, percussion and electronics, I depicted the essence of a psychedelic mushroom by converting its molecular structure into hertz. I discovered that each element has a specific frequency, and by combining these frequencies, I posit that an aspect of its essence emerges. Here is where polymicrotonality plays a role. When converted to hertz, the frequencies often diverge from the Western tuning system, requiring me to construct different tuning systems for accurate portrayal. At times, this means employing multiple tuning systems simultaneously. To create clarity and independence within these tuning systems, I employ coinciding tempi connected to beating patterns in the overtone series. Every decision I make is governed by my research and the subject’s data. Staying true to the subject that piqued my curiosity is the goal and presents an incredible challenge, pushing me to think outside the box.
As a composer, my goal is not merely to present a sequence of frequencies for entertainment but to guide listeners into a profound, reflective engagement with the world around them. I hope my music will open minds to see beyond surface impressions, sparking conversations and inspiring a curiosity that invites a shift in perspective. My mission is neither born of personal ambition nor motivated by self-satisfaction; it is a quest to offer society a meaningful representation of reality through a universally understood language—a gesture of shared humanity and collective understanding. Through my work, I seek to contribute to a larger discourse that helps listeners explore the intricacies of existence and recognize the connections woven into the fabric of our collective experience.