summary
The overall theme and approach of my work is to use the medium of performance as well as technology to place a magnifying glass on life. The material is often related to memory & nostalgia, or everyday activities. My work should serve to, in the Cageian sense, blur the line between art and life.
Stemming from my background in music, some of my pieces use stringed instruments, either as material for a broader concept (geometry, letter to mom) or as a way to musically control video (mom's iPhone, for akari). More recently, I've branched out into performances that use live cameras without instruments (whispering forest, tooii story, cartography) and performances that use very little technology at all (on the jalan).
background
After studying viola for a few years, I began studying composition and electronic music at the Universität Mozarteum in Salzburg, Austria with Reinhard Febel and Achim Bornhöft. My written scores from the end of this period used flexitime space notation and graphical dynamic notation as well as hybrid acoustic/electronic pieces.
After graduating and moving to Japan, I began studying programming and exploring procedural audio for interactive applications. This began when I did the sound for the iOS game enen and made a series of standalone interactive pieces.
In Tokyo, I began performing structured improvisations by connecting the viola or MIDI violin to a computer and using it to control live-synthesized sounds.
Around this time, I met several people in the Tokyo performance art scene and began working with them, contributing generative audio and video to the collaborations. The influence of these collaborations and connections helped lead me to focus my solo practice towards performance and live video art.