I’m pleased to announce the completion of a choral project with the Elmer Isler Singers and KöNG Duo. The Going (SATB) is based on a poem of the same name by poet Wilfrid William Gibson, who wrote the poem about his friend going off to war at the start of World War 1.
He's gone.
I do not understand.
I only know
That as he turned to go
And waved his hand,
In his young eyes a sudden glory shone,
And I was dazzled with a sunset glow,
And he was gone.
Find Out More about the project!
I’m excited to announce that my 2021 video music work, entitled iSAD has been selected to be part of the 2024 edition of the MUSLAB International Electroacoustic Music Exhibition.
MUSLAB - AFTER is an exhibition that brings together a careful selection of sound art, video art and photographic works, all focused on the exploration of cultural identities and the analysis of the relationship between local social processes and globalization. This project offers a look into the future of the planetary scenario, where art becomes an oracle capable of predicting the challenges and opportunities of the 22nd century and beyond, reflecting on such urgent issues as the state of society, ecology and other aspects of the planet.
Check out iSAD below.
The LithoPhone Project began out of a desire of mine to extend my practice to the art of instrument building and sound installations, attempting to create unique sonic textures through unusual and novel uses of existing technologies paired with creative instrument designs. The LithoPhone is a custom-built sound box, which combines an electrical motor, stylus, and amplification chamber to produce and enhance the natural resonances and harmonics found in stones. The box is amplified through use of a contact microphone, with the captured audio being processed through an Ableton Live patch.
Check out the first movement below!
As a millennial, I was among the first generation to grow up fully online and in the digital age. As I entered my teens and early adult years, it continued to grow as a source of news, entertainment, knowledge, and a place community — its impact growing on my life and others over time. While this brought with it countless benefits, exposing my generation to new ideas and creating relationships with people around the world, it has, especially in recent years, become more and more of a detriment to my own and others’ mental health, and impacting our outlook on the future of our species.
Gen(Self) is a self-portrait. Following in the tradition of many visual artists, this self-portrait examines my personal experiences and reactions to these changes in society brought about by rapid technological change. After being online for two and half decades, I’ve seen the changes occurring in real time, and it has begun to take its toll on me.
Check out Gen(Self) below!
My video music piece (co)Axial (2021) was performed at this year’s Seoul International Computer Music Festival. The Seoul International Computer Music Festival is a sound art performance that combines various media such as musical instruments, electronic sounds, videos, and new media, and is held every fall as a differentiated performance that shows new ways and possibilities of harmonizing music and technology. As Asia's first computer music festival, it has grown into a music festival that leads the global trend of computer music with the presentation of high-quality works by active artists at home and abroad until its 31st anniversary this year.
Check out (co)Axial below!
Lost Tapes Vol. 1 is the first in a series of cassette tape-based compositions to be released over the next five years. As we run out of time to address the worst of the climate crisis and limit nuclear proliferation, an apocalyptic future becomes more of an inevitable reality with each passing day.
Lost Tapes is a collection of environmental soundscapes, sonified image data, electromagnetic distortion and snippets of my own compositions, combined to form an auditory collage of a musical life before the collapse.
After the recording of the video performance of the tape piece, this tape was buried in a time capsule in an undisclosed location in the city of Tkarón:to. Each volume in the tape series over the next decade (1 every 2 years), will be buried in similar capsules across the Greater Tkarón:to Area. My hope is that future generations that potentially survive the oncoming collapse will find these tapes, decode the auditory warnings and messages from the old world, and experience extinct acoustic signatures from a long-gone era of human civilization.
