What meaning do we unpack (read, feel, understand…) when somebody (something) makes a particular: sound, movement, gesture, word, posture, harmony, texture, timbre? Because all happens in time and context, this question, and much of my musical work, is concerned with a sense of the theatrical. Theatre—whether introverted or extroverted, subdued and subtle or more direct and demonstrative—being a situation where actions, decisions, and one’s experience of a thing are highlighted and given weight, or lightness. An expressive or interpretive impulse can thus identify itself with and in a variety of means of and avenues for communication.
My own varied stylistic interests play on, in, and with the richness of this theatrical attitude: at times cultivating an ambiguity in which a listener/viewer can conclude-for-themself, and at others projecting an idea or meaning more explicitly. Working in different kinds of these situations, I rely heavily on the intuitive, and at many stages in the process—or even as a guiding principle—find analogues for musical material in physical gesture or visual and poetic metaphor; all this in service, in some way, of exploring what the implications of X (object, thing-in-time or in-thought… X action, change, sound, movement, gesture, word, posture, harmony, texture, timbre…) may be. Often, these explorations are carried out through the use of simple or limited materials in order to see the (m)any sorts of shades and curves and micro-currents of color and shape and ideas and secrets and joys and the occasional joke that may be found within them.
More personally, though,
I am guided by, or
an aspiration to share