Since 2019, I have become deeply immersed in the world of spatial sound, exploring its diverse forms, from Ambisonics to multichannel sonic installations. I am captivated by the way space can be designed as an instrument, transforming both the aural and bodily experience. At times, I perceive myself as both artist and architect when navigating the delicate intersection between fictional and physical spaces. For me, the reasons for using spatial sound are manifold, not generalised. I am drawn to its potential as an expressive medium that can articulate diverse concepts beyond sound and music.

My practice spans disciplines, often in collaboration with artists, scientists, and technologists. I find inspiration in the theories and aesthetics of diverse fields, which inform my work with sound and space, creating a dynamic exchange that feeds back into those same fields. I am always in search of the magical moment when new forms and ideas emerge from the collision of influences across disciplines.

Music and art, for me, are ways to address the collective anxiety of our hyperactive world. My reflections on contemporary crises—such as temporality, accelerationism, and technology—serve as central inspirations, while my work also engages with broader themes, including surveillance, the attention economy, nature, and post-humanism.