STATEMENT:

My work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. I seek to engage via listening as opposed to musicality.

A significant element of my work is the use of sounds that necessitate a focused engagement on the part of the auditor. It is with an incremental and meticulous process of reduction that I create a complex textural field in which these sounds are treated with a sculptural integrity. 

Compositions often explore an implied silence. The sometimes near-inaudible character of the sounds I utilize belie the activity and energy of a composition itself. Generating a rich threshold between silence and sound that is finely structured, in some cases cyclical, these pieces are often best experienced at low volumes or on headphones.

The use of extended durations push auditors into even deeper areas of attention, concentration, and focus.

My live performances differ perhaps most significantly from my recorded compositions by virtue of an increased audibility and activity. Performed in darkened spaces to circumvent other sensorial input, my sound performances seek to create focus on the essence of sound and its physicality. Listeners have often noted the transportative nature of the performances, identifying a distinct displacement in their experience of time.

In installation form, my work most often is re-contextualized into site-specific, controlled environments. The auditor becomes imbued in the physicality of the sound and its perception in relationship to his/her placement within the space. These installations aim to redirect the listener/viewer’s concentration and bring his/her attention to selective aspects of experiencing sound. I find that an empty gallery has the potential to mold an effective listening environment, or to create through the manipulation of sound a space of novel physical experience.

In line with my interests in expressions of form, I often remove visual cues from these spaces and approach as closely as possible a non-referential state within the work itself. An attempt at pure sound rather than visual art that makes sound, or the generation and experience of sound that does not depend upon a visual reference.