I am a performer-composer whose work traverses the space between social structures, individuality, spontaneity, and explores resonance in physical as well as cultural space. Through extreme extended techniques, I challenge conventional instrument playing, exploring the possibilities and limits of sounds within an instrument. My music is informed by political, social, and cultural awareness of the systems constituting our societies.
-- institutionalized stuff --
I have participated in Manifesté-IRCAM (FR), Darmstadt Summer Course (DE), OneBeat Taiwan (TW), Experimental Institute at Antenna Cloud Farm (USA), Ensemble Evolution (USA), Karp Kamina Residency (Togo), ANMA+NordPlus Music Forum (EE), Dark Music Days (IS), Time for Music (FI), ActinArt (DK) among others. I hold degrees from Universidad Autónoma de Baja California, Boston Conservatory at Berklee, Listaháskoli Íslands and I am enrolled at the University of California-San Diego.
Personal Statement
I am a composer, improviser, and researcher interested in how people find their own voice within the systems they inherit. My work comes from a curiosity about the relationship between structure and freedom, and how personal forms of expression emerge through collaboration, improvisation, and listening.
Growing up in Mexico, I became aware early on of how social and cultural systems shape who is heard and what forms of expression are valued. Much of my early musical education came through a Eurocentric tradition that gave me important tools but left little room for experiences and identities I could feel but did not yet have the language to describe. Crossing the border regularly to study in San Diego exposed me to both opportunity and inequality, and those experiences continue to shape the way I think about access, education, and creative agency.
Maybe because of those experiences, I have always been drawn to musicians who create their own paths. I am interested in the ways performers transform their instruments, develop personal languages, and discover new ways of making sense of the world through sound. My work often explores these ideas through experimentation, extended techniques, graphic notation, improvisation, and collaborative processes. For me, these are not simply artistic tools but ways of making space for different kinds of knowledge and experience.
Migration, in many forms, remains central to my practice. Moving between countries, cultures, and artistic communities has taught me the value of listening deeply and staying open to perspectives different from my own. I see performers as collaborators whose histories, experiences, and instincts shape the music alongside me. Some of my work has developed through collaborations in places such as Togo, Greece, and Taiwan, where workshops, conversations, and shared creative processes reinforced my belief that meaningful artistic exchange can emerge through curiosity, trust, and mutual respect.
As I continue to grow as an artist, I remain interested in questions about authorship, collaboration, and the ways musical knowledge is passed on and transformed. My work is about creating spaces where people can explore, experiment, and contribute their own voices. I hope to make music that is grounded in lived experience, open to transformation, and capable of bringing different ways of knowing into conversation with one another.