Chroma

2026
Performance
~40’
Quadrophonic Sound
Performance at Daily Special, Echoraum Vienna
Photos by Miriam Brinkmann and Robert Bergman

Chroma explores unstable relationships between sound, perception and presence. The voice appears as a fragile sonic presence rather than as a carrier of language, before gradually unfolding into layers of recorded, synthesized and electronically transformed sound. Vocal traces and field recordings become embedded within shifting tones, moving between foreground and background through processes of layering, masking and spectral transformation. Subtle changes in density, tuning and timbre create moments of uncertainty, in which sounds appear to merge, separate and shift identity. 

peripher

2025
Composition for recorded organ, synthetic organ and multichannel electronics
17’
Commissioned by Canti Spazializzati Festival Wroclaw
Photos by Wojciech Chrubasik

peripher explores the shifting boundaries between acoustic and synthetic sound through the combination of a recorded organ and a digitally synthesized counterpart. The recorded organ, captured in the auditorium of Cité des Arts Paris, is gradually transformed and displaced through electronic processing, while synthetic sounds emerge in close relation to its acoustic traces. Through subtle changes in timbre, spatial position and density, the two sound worlds become increasingly difficult to distinguish. The piece explores the unstable threshold between source and transformation, presence and absence, and the way memory can persist within a constantly changing sound.

Terminal

2023
Performance
20’
For a performer, live-electronics and multichannel-tape
Commissioned and produced by La Biennale di Venezia
All pictures Courtesy La Biennale di Venezia

Terminal explores the relationship between presence and absence through the interaction of voice, electronics and spatial sound. The performer’s voice remains largely inaudible, functioning instead as a hidden control element that shapes the movement and transformation of recorded and synthesized sound. Through masking, spatial displacement and gradual transformation, the piece examines how an inaudible sound can nevertheless exert an influence on what is heard. The resulting asymmetry between what acts and what becomes perceptible raises questions about agency, control and power.

Interference

2026
Composition for bass clarinet and live electronics
10’30’’
Performance at Flagey, Tectonics Festival Brussels, by Dirk Descheemaeker, bass clarinet and Leonie Strecker, live electronics

Interference focuses on the relationship between breath, resonance and the perceptual spaces between sounds. The physical act of breathing forms the basis of the piece: air, gesture and sound production become intertwined, revealing the instrument as a fragile and constantly changing acoustic system. The pauses, transitions and residual resonances between individual tones are as significant as the sounds themselves.
The unstable harmonic spectrum of the bass clarinet interacts with electronically generated resonances, creating interference patterns in which acoustic and electronic sounds continuously influence, obscure and reveal each other. Through spectral shifts, microtonal deviations and spatial processing, the boundaries between instrument, electronics and acoustic space become fluid.
The piece approaches interference as both a physical and perceptual phenomenon: a process in which subtle relationships between sounds generate new sonic events. The work focuses on moments of emergence and disappearance, where tones are shaped not only by their presence but also by their absence and the resonant spaces surrounding them.

Point of Passage (Terminal)

2024
Performance
32’
Quadrophonic sound
Performance at Den Frie Centre of Contemporary Art Copenhagen

Point of Passage (Terminal) presents a speculative scenario in which different voices make an appearance. These voices have been recorded, manipulated, scattered, synthesised and dispersed, brought together from different places and different times, connected and torn apart. The performer manipulates the electronic sound with her own voice, yet her voice is not audible to the audience. She subtly imposes control onto the sound, searching for her relationship with it, tracing connections and memories. The voices heard here all have different levels of connection and degrees of proximity to her: her mother, a teacher, an old recording of an ageing castrato, anonymous crowds, a priest, people walking by in the street. In examining her relationship with all these voices and with the types of power and influence they exert upon her, she seeks to escape their immanent structures, creating glitches and short circuits between experience and memory, reality and fiction.

The performance at Den Frie in Copenhagen was part of the performance program of the exhibition Artificial Optimism, curated by Magnus Thorø Clausen, with contributions by:
Thjerza Balaj, Umberto Boccioni, Marc Camille Chaimowicz, Jessica Ekomane, Jana Euler, FOS, Sidsel Meineche Hansen, Frieda Toranzo Jaeger, Miriam Kongstad, Ville Laurinkoski, Camilla Lind, Asta Lynge, Diego Marcon, Simon Dybbroe Møller, Sandra Mujinga, Pamela Rosenkranz, Eve Stainton, Leonie Strecker, Alexander Tillegreen
Photos by Betty Kraag

Anhalten
2020
Composition for 2 flutes, electronics and video
10’
Performance at Filmwerkstatt Düsseldorf by Sofia Aretz and Youna Choi
Photos by Lambert Windges