Performance inspired by the life and writings of Gérard de Nerval, and his text Aurélia. The work explores themes of synchronicity, and the interplay between reality and imagination through live performance.
Through gesture, movement, and spoken fragments, the work inhabits a liminal space where memory, imagination, and poetic surrealism converge.
Performed at Maladies Label Night, 2025, in collaboration with performers Salika Kadita, Aurora Barstard, and Lau Andersson.
Do
Not
Wait for Me Tonight
Arioso, Florence, IT, 2025.
Multichannel sound installation and performance developed in collaboration with classical singer Victor Kassebeer.
The work explores ancient texts and the Akkadian language through contemporary sound practices. It focuses on extremely low frequencies at the threshold of hearing, which are experienced less as sound and more as physical vibration in the body.Work explores psychoacoustic phenomenas like beating in low frequency range.
The performance works with musique concrète, noise composition, electronic sound over the baritone voice. Ancient language is taken out of its historical context and placed into western contemporary sonic tradition.
The voice moves between speech, laments , singing and noise, while the low frequencies and multichannel sound create a physical relationship between the voice, the space and the listener.
Heart
of Glass
Gilgamesh
Soundscape
for
Multichannel
Part 1 — Noise
Part 1 - Noise
The first part of the composition is built around harsh, amplified noise. It is designed to clear the surrounding sound and attune the ear to the subtle sounds of the Glass Choir that follow. The noise is produced through a combination of modular synthesizer, granulator, and live acoustic instruments.
Part 2 - Glass Choir
The Glass Choir is built from five micro-tuned frequency fields: Heart (639 Hz), Light (913 Hz), Aura (1200 Hz), Shadow (672 Hz) and Veil (756 Hz).
Heart forms the central field, with nine players sustaining long, softly overlapping tones around 639 Hz. Slight microtonal differences create continuous beating and shifting resonance. The sound remains sparse, with silences and pauses allowing the resonance of the glasses and the acoustics of the space to remain audible. Light enters gradually as a secondary layer, appearing intermittently above the Heart field. Aura emerges later as a very sparse and fragile presence. Shadow and Veil enter towards the latter part of the composition, introducing subtle dissonances and interruptions to the sustained Heart frequency.
The composition is unmetered and without a shared pulse. Its structure develops through changes in density, frequency, resonance and silence.
Brønshoj water tower, DK, 2026.
Noise & Glass
is a 24-minute electroacoustic composition for 21 glass performers x noise.
The composition consists of five finely tuned glass frequencies, each assigned a specific name and performer group & noise.
No melodies.
No progressions.
A single chord behaves like a cloud. At the first glimpse, it appears motionless, almost immutable. Yet, in the long attentive presence a tiny currents are gently invading, shiffting, altering its breath.
Phase shifts.
Beating.
Evolving resonances.
A stable sonority slowly collapses into itself, subsides to the core of the underground and creates continously evolving field of fluttering environment of sublime sounds.
Pulsations.
Difference tones.
Micro-fluctuations.
.
.
Rhythmical patterns emerge and dissolve.
.
.
Almost imperceptibly.
A sonorous body whose inner movements only become audible through prolonged, attentive listening.
Like the slow change in the clouds.
Like a glimpse of a light pink color in the late night sky.
Here-
and then...
gone again.
Will Tell It to You Through the Clouds, Through the Light Pink Color, in the Late Night Sky
Will Tell It to You Through the Clouds, Through the Light Pink Color, in the Late Night Sky
Site- specific
Micro listening & site specific, DK, 2026.
Gloslunde kirke