My work explores the inter-relationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. I seek to create a complex textural field which engages via listening, as opposed to musicality.

The sometimes near-inaudible character of the sounds I utilize are the result of an incremental and meticulous process of reduction which respects their sculptural integrity. Compositions often explore an implied silence, finely structured and in some cases cyclical. They are best experienced at low volumes or on headphones. The use of extended durations push listeners 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 entirely darkened spaces, they focus on the essence and physicality of the sounds. Audiences often note their transportive nature, identify a distinct displacement of their experience of time.

In installation form, my work aims to redirect the audience’s concentration toward selective aspects of experiencing sound. An empty gallery is an effective listening environment when it offers the potential for a space of novel physical experience. Therefore, I often remove visual cues from the space and approach, as closely as possible, a non-referential state within the work itself. The approach imbues listeners with the physicality of sound, suggesting they explore their own placement within the space. Rather than the creation of visual art art that makes sound, this form concerns the generation and experience of sound as pure sound.