My artistic research moves between composition, improvisation, performance, and critical inquiry. It is grounded in practice, but also shaped by questions drawn from philosophy, ecology, mediation, and contemporary cultural theory. Across this work, I explore how music might unsettle inherited assumptions about listening, authorship, instrumentality, and the place of the human within sonic experience.

At the centre of my practice is the violone, a historical string instrument whose materiality, resonance, and instability open onto wider questions of time, embodiment, and relation. Through this instrument, and through electroacoustic, improvisatory, and compositional methods, I investigate musical practice as a site of experiment: a way of testing how sound can expose, fracture, or reconfigure the structures through which contemporary life is perceived and organised.

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My research has been especially concerned with more-than-human thought, post-anthropocentric approaches to sound, and the cultural conditions under which music becomes mediated, documented, archived, and aestheticised. I am interested in the tension between direct sonic encounter and the systems that frame it: notation, recording, preservation, technological extension, institutional display, and discourse itself.

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This work takes shape across compositions, performances, writings, and hybrid research outputs. Rather than separating artistic practice from scholarship, I approach them as mutually constitutive modes of enquiry. The aim is not to illustrate theory through art, but to think through practice: to treat sound-making as a way of producing knowledge, generating friction, and opening new relations between listening, matter, history, and environment.