my relation to sound is profound and interconnected.
due to clairaudient voice transmission, at the age of seven, i spoke unrecognized languages and had constant outer-body experiences which triggered me to sense the sound as vibration not limited to physical environment heard through the human ear.
tuned into an invisible world, i played intuitive piano and used experimental vocalization in a self-explorative and therapeutic way, as i could tune in and move out of matter into energy.
i had never have formal training in any musical instrument; my experience was always direct and intuitively.
only sporadically did i engage with software and sound processing techniques for sketches that i released in social platforms under various aliases.
returning to vienna after long introspection in the rainforest of south america, i was longing for creativity and expression. without second thought, i took my 3ccd analog camera and started recording abstract images of flowers, being curious to explore the correspondence of color and sound, analyzing and comparing a variety of variables – hue in color and pitch in sound, luminosity of color and loudness of sound, saturation of color and timbre of sound, size of color and duration of sound.
following this exploration led me to question the ways in which color and sound affect the human organism. thus, i planed to use a marantz cp230 to record sounds of instruments and natural ambience that i could process through analog. yet unluckily it became damaged, so that i could only use a digital one and software plugins.
i poured hours into ideas, through the capturing of samples and manipulations of sound. by the winter of 2017, i had performed with gloria damijan in a 20 minutes live performance, from which i have created a new audio composition and a video art series, called p h o t o s y n t h e s i s#01.
inflamed by passion for natural soundscape, i found myself traveling in various landscapes recording audios for archives intended for use in compositions.
seeking to deepen my knowledge in field recordings and experimentation, i journeyed along the soundscapes of hildergard westkamp, whom i shared a few conversations on the topic, and of jez ridley french who manufactured for me contact microphones and hydrophones.
attending a couple extraordinary classes at the electroacoustic school (ELAC) in vienna, i got access to various performances, one of them was at the vienna acousmonium with beatriz ferreyra, who invited me to visit her in france and experiment with her reel to reel tapes. though, for some reason, my heart was intensively guiding me to follow another path.
in 2019, leaving behind the workshops and the intellectual scene of sound, i returned to the rainforests of south america inspired to record audio material for the composition of the album ‘le mu’ and statements of indigenous people who had a great impact on the preservation of nature and tradition.
this is officially the birthdate of my electro-acoustic project, anamorph experimental music that is about field recordings (flora and fauna), environments (objects and noise) and cognitive experience (acoustic-electroacoustic).