For as long as I can recall, I have been fascinated with "sound"; discovering textures, shaping timbre, and imagining new sonic possibilities. I view "sound" as the driving force of my creativity.


I have produced an extensive and colorful artistic portfolio. It consists of instrumental, electroacoustic, acousmatic, and sound installation works that involve acoustic components, pre-recorded media, and generative and interactive processes, being presented both binaurally and within immersive environments using multi-channel configuration setups and Ambisonics.


As a whole, my research focuses on the conception and development of interdisciplinary projects with the symbiosis of a plethora of components, such as technology, performance artists, visual media, and raw acoustic data from the natural world.

In my creative practice, regardless the forces I occupy myself with – acoustic or electronic – I give special emphasis on the utilization of acoustic instruments for the production of musical material. My instrumental writing focuses on the construction of evocative and eccentric gestures as well as the formulation of fragile and vulnerable timbres achieved via the application of multiple layers of extended techniques. Similarly, in my works that involve an electronic component, the material is too being primarily generated by acoustic means that are being recorded. Recording not only has the ability to capture sound in a range of acoustic capacities, but it also provides a tactile quality that facilitates my creativity through further electronic transformation.


Overall, I see the electronic presence in my works as a means of filtering the instrumental component, and vice versa. My ultimate goal is the total merge and fusion of the acoustic and electronic domains, where one depends exclusively on the other, one is extrapolated into the other, one shifts into the other. 

Four main inter-depended principles govern the nature of my current artistic work; sound sculptinggranularity, fragmentation, and space.


The practice of sound sculpting comes into play in various stages along the compositional process of a work. Initially, I find enjoyment working closely with instrumentalists in an effort to collaboratively explore interesting sonic possibilities and together create variations by shaping further the material until we reach satisfying outcomes. Then, having digitized the data through recording, I proceed to the second step of manipulation that involves a wide palette of techniques I have been experimenting with for years, through which I carve the temporal, frequential, and spatial dimensions of my sounds. 


Granularity serves the purpose of my work in two ways. Firstly, as a combinatory practice of sound sculpting through the application of granular synthesis, where each sample is divided into numerous audio quanta whose individual parameters are being further modified. Secondly, the resulting granular quality amplifies the concept of fragmentation, a philosophical notion with which my work is fundamentally concerned in both the macro- and micro-structures of each piece.


Finally, I consider space an integral dimension that I meticulously construct. I enjoy working in multi-channel environments with 3-dimensionally configured speaker arrays, creating situations where the virtual space is being transformed during the course of a piece by altering its architectural scheme and adjusting the parameters of reverberation. Plus, generating an interplay between trajectories of direct/continuous and irregular/fragmented spatial motion is a practice of great importance in my work that purposes to apply a secondary level of narrativity to the dramaturgical aspect of every experience.