Research Catalogue

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Through Segments is a sound installation in an unusual interstitial space—the staircase of the Kunsthaus’ Iron House that connects to the “Friendly Alien”. Four artists listen into the storeys using real-time computer algorithms, taking an acoustical image of the visitors’ movements, forming four individual reactions. It is a poetic attempt to think about the distributed, the fragmented, the parallel. During the development phase, the artists work independently, but at the same time they observe and interrogate each other, performing the gesture of a “simultaneous arrival” (Sara Ahmed). They enact a human algorithm, informed by reiteration and duplication but never being identical. The aim is not one “of all converging towards the same, but circulating, making common relaying, relaying back, being relayed” (Isabelle Stengers).

Through a dialogue with an historical archive the project seeks to construct a fluid story of a confined landscape on the point of transformation. Through the negotiation of a multitude of images the project constructs a narrative that transcends the photographic vision as evidence, and questions whether vision can be more than comparable to the ground of an archaeological excavation. Through the use of the photographic essay as a method the intention is to try and interpret the changeability of the urban landscape.

This artistic research explores a performance practice that integrates the phenomena of gravity and breathing as extensions of musical expression in improvisation. The aim is to develop a musical language that translates the qualities and characteristics of gravity and breath into sonic gestures, examining how they generate tension and release through both musical actions and silences. The project draws inspiration from traditional Korean music and dance, in which an embodied awareness of gravity and breathing constitutes a foundational approach to performance and interpretation. These cultural references serve as a framework for rethinking musical practice and transcultural awareness. As part of the research process, I undertook studies in traditional Korean dance, the vocal tradition of Pansori, and the percussion instrument Soribuk to understand how gravity and breathing are communicated artistically, verbally, and methodologically across these three disciplines. Insights from this embodied practice were then translated into the context of Western contemporary improvisation. The resulting concept is designed to enhance the performer’s awareness and is specifically conceived for a solo drum set context.

Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? Spanning a period from 2020-2022, “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?

This artistic research project reflects a deeply personal exploration of the ritualistic and symbolic aspects of music, from the perspective of my own practice a soloist. It touches on the idea that the act of creating sound is not merely a technical or performative endeavor, but a sacred, energetic exchange. The fingertips, as the primary point of contact between the musician and their instrument, are seen as a portal—an interface between the inner world of the musician and the outer world of sound, music, and the present moment.