I am a composer of acoustic and electronic music, with works for orchestra, chamber music, and other non-traditional line-ups. These works range from short durations to full-length performances, require exceptional performative specialization, deliberately challenge the structure and limits of traditional performances, and aim to highlight the fluidity between different art forms.

This dynamic tendency, revealed when historical modes of expression are combined with one another or with new technologies, unlocks a horizon of unexplored possibilities: on the one hand, the bodies and voices of musicians, actors, and dancers; on the other hand, new media, such as electronic music, algorithmic composition software, movement, and lights. These do not merely stand in opposition, but interact creatively with the performers, expand their technical vocabulary, and enhance their expressive capacities, thus attempting a re-articulation of earlier materials from the perspective of a posthuman era.

In my works I engage with fragile sounds, not fully controllable by the performers, inherently unstable and constantly in motion. These sounds come with their own logic of unfolding, presuppose a particular relationship between body and musical instrument, and require a new kind of listening—detached from traditional parameters and focused on the pleasure that arises solely from the revelation of the internal structures of sound. Beyond the idiosyncratic use of sounds, which is the result of extensive personal research into the particularities of instrumental mechanisms, I am also interested in their original combination—in other words, orchestration—inasmuch as orchestration signifies the form of the whole, and inasmuch as the whole reveals something more than the sum of its individual sounds: a new lived space and a new listening awareness.

If the whole does not always generate meaning according to traditional practices, this does not mean that sound is completely open to any interpretation. A central concern of my work is the revelation of dream and trauma as human states that rupture the content, texture, and structure of human experience and the meanings it entails. Like the unconscious, they operate beyond the transcendental structures of time, space, and causality, and assert their own logic in the way they appear—disconnected, paradoxical, weird, eerie, and unearthly—a logic that enriches and stimulates our imagination. It is not I as a composer, nor the performers, who dream or reveal our traumas; rather, we are fragments of the shattered psyche of an invisible subject. My works are dreams without a dreamer, traumas without the traumatized—invitations to reflect on the very nature of dream and trauma, on the rift within human experience.

The logic of dream and trauma suggests connections to the fragility of the world, to the processes that wound and shape us on both individual and collective levels. The rawness of voices, instruments, bodies, and electronic sounds, and the violence of form and gesture imposed upon unrefined materials, delineate violence as a political idea, which in turn reveals our fragility. I believe that a new way of living accepts and celebrates our vulnerability rather than deliberately concealing it, and that musical creation can play a leading role in this endeavor, as the art form that inherently embodies this very fragility.