Milestones and Collaborations

Collaboration as an Open Space

Art, for me, has never been about working in isolation. Sound is a process, shaped by encounters, by the spaces we inhabit, by the ways we listen. Over the years, I’ve had the chance to work alongside artists whose ideas and methods expanded my perception, often leading me to places I hadn’t expected.

Each collaboration was different—sometimes it was an intuitive exchange, an improvisational moment that disappeared as quickly as it came. Other times, it grew into something more structured, resulting in recordings, performances, or installations. Regardless of the form, these experiences have remained part of my process, influencing how I think about sound, silence, and the ways we engage with them.

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Explorations in Sound and Space

Some of my projects have focused on the relationship between sound and physical space, where composition is shaped as much by the environment as by the instruments or recordings themselves. These works often explored how acoustic and electronic elements interact, how resonance changes depending on architecture, and how soundscapes evolve in response to presence and movement.

Other collaborations revolved around improvisation, texture, and perception—sometimes in the form of drone-based compositions, layered field recordings, or abstract electroacoustic structures. These were moments where sound felt less like a deliberate creation and more like a process of discovery, a way of tracing hidden connections.

There were also projects where sound, image, and motion merged, forming audiovisual works that existed somewhere between performance, installation, and meditative experience. These pieces were often developed in real-time, shaped by both technical experimentation and intuitive response to the moment.

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Performances and Encounters

Performing live has always been a way to step beyond recorded sound—to engage with an audience, to adapt in the moment, to let the environment become part of the composition. Over the years, I’ve taken part in festivals, exhibitions, and experimental music events, where sound was not just something presented, but something that shaped and was shaped by the space and the people within it.

Some of these performances took place in concert halls, while others unfolded in unexpected locations—industrial spaces, galleries, outdoor environments. Each setting influenced the way the sound existed, sometimes absorbing it, sometimes distorting it, sometimes revealing something that wasn’t apparent before.

Among the events and festivals that left an impact on me were:

• ACTIVA Festival, Spain – Exploring how sound and visual elements evolve in a shared space.
• Yarra Sculpture Gallery, Melbourne – A project reflecting on how natural and artificial environments interact.
• Night of the Arts, Vaasa – A place where sound and image become fluid, shifting with the audience’s movement.
• Symbiotic Silence Festival, Hamburg – An ongoing dialogue in deep soundscapes and improvisational forms.
• ToBe Continued… 24h Streaming Concert – A global experiment in uninterrupted sound, moving across time zones.

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Releases and Recorded Works

While live performances exist in the moment, recordings allow for a different kind of experience—one that is shaped by time, yet remains open to reinterpretation with each listening.

Some of the works I’ve been part of include:

• Freedom Reflex (One) (2008) – A study in evolving sonic textures.
• Freedom Reflex | Second (2014) – Exploring shifting structures and dissolving forms.
• Room Number: Fiducial Banality (2007) – A blend of acoustic and electronic environments.
• Idle Sunder – Psygnosis I–III (2007–2010) – A series of layered sound explorations.
• Digital Snow (2008) – A project working with contrasts between digital and organic sound.

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Looking Ahead

Collaboration, for me, has always been about exchange—about stepping into a shared space of listening, responding, and discovering something unexpected. Some of these encounters became ongoing dialogues, others existed only for a brief moment, but all of them have influenced how I think about sound.

There is no final destination, no “completed” work—only the next step in the process.

 

References

Wikitia