Headlands Center for the Arts

Artist Statement

I seek to create a physical sound through bass and voice, primitive and direct, to search for a sound that is not possible. My instrumental approach has elements of friction and noise, and it draws inspiration from concrete music, noise, and performance. I have always been drawn toward the in-between, when something is neither this nor that, it to me appears as a nutritious journey to life. I don’t want to know, and that seems to me a feminine approach or feminine value, allowing not-to-know into the creative process (being life, art, or music) as a driving force to explore what is hidden.

While At Headlands

For my time at Headlands, I will combine two working processes. One is to develop a vocabulary to explain my composing process. My backbone as a composer has been developed through composing music for the figure theater Plexus Polaire, following an emotional logic that is not logic at all. I also have followed this model when composing for ensembles and choir. The importance of knowing the motivation behind the sound is more important than the outcome, and this creates the sensitivity and feeling I am searching for in music. I will also work on a composition for the 2020 Borealis Festival in Bergen, Norway. The piece is called Resonant Silence and will include puppets, sound installation, mirror installations, movement, and my chamber orchestra, The Touchables.