I am a percussionist dedicated to experimental music rooted within the traditions of composition and improvisation. Valuing idiosyncratic techniques, I explore new sonic frameworks involving agency, perception, immediacy, and constraint. Through composition I explore larger philosophical concepts such as the creation of structure through chance, cohesion through independence, and the borderlands between the raw materiality of sound and human cognition. At the core of this approach is a full embrace of the objective properties of instruments and sound itself. Of equal importance are the social, emotional, and metaphysical relationships that naturally arise during collaboration between performers, objects, and spaces.  I create systems which navigate these dynamics, uncovering unique sonic environments grounded within the immediate moment. This dichotomy between material constraint and autonomy reflects a dialectic which continually points to the same question- how can we use music to research these ideas?  

I develop collaborative performance relationships through a blend of improvisation and composition. Percussion, like any other instrument, is a machine with particular and bespoke properties. Once the instrument is stripped down, these material properties emerge outside the gaze of the western classical tradition. Its geometry, mobility, resonance, and metaphysics can be investigated to discover a radically new approach to performance. Through this refreshed objectivity, sonic possibilities vastly expand. In this framework each performer is tasked with this process of discovery, which is a highly personalized process. Additionally, the idiosyncratic traits of each unique instrument are prioritized and are contingent on infinite factors. For example, the irreproducible sounds of a clarinet squeak, grinding noise of bow pressure on a violin, and the specific pitch of a struck vibraphone frame are vital contributions to musical material. Relationships between material approach, individual personality, and sound emerge naturally. These relationships can lead to experiments in sonic contingency, constraint, human control, and more. This, at its essence, is a restructuring of power which prioritizes the innate conditions of immediate reality. Within this dynamic is the grey zone between composition and improvisation, which requires a spontaneous critical mass of like-minded artists. My research addresses this condition to expose potential in contemporary music today.