My life orbits around three central passions: music, innovation, and community.
At the tender age of ten, music embraced me, captivating me not only with its melodies and sonic experience, but also with its boundless avenues of exploration — from technical mastery to historical richness, mathematical and structural beauty, and the ephemeral nature of its essence, delicately suspended by a thread.
Stepping into my twenties, I found myself drawn to new music and later to the transformative power of music technology. These realms opened doors to uncharted territories where I felt most at home, navigating challenges with zeal and curiosity.
While my core professional identity draws from performance and music-making, I came to understand the importance of living within a sharing, healthy, and vibrant society — one in which it is not only individual inner growth that matters, but also the ability to share it with others and to actively nurture it with respect and deliberation.
As a natural extension of my interpretation of existing music, I have also devoted nearly two decades to meaningful collaboration with composers, alongside teaching music interpretation, chamber music, music history, and theory. This enriching experience not only deepened and strengthened my connections with those around me, but has also become, for me, a meaningful way of understanding music itself.
In recent years, my interests have evolved once more, converging into cohesive interdisciplinary initiatives.
The CPA project, and many of the projects that followed, involved deep mutual artistic collaboration and exploration with composers. They reshaped my approach to music-making and established the way I currently collaborate with composers — as friends on a journey.
These exploratory adventures within musical practice exposed epistemological barriers in musical language and in our ways of understanding instrumental technique. The SpectraSax research initiative — a scientific approach to re-examining extended techniques — emerged as a response to these findings. Its results were further developed into a new methodology I call Sculpting Air, which offers, for the first time, a clear understanding of the relationship between physical action and acoustic result.
This new way of thinking about sound production through the lens of the player–instrument system opens new avenues for creativity and understanding, new pedagogical tools, and fosters collaboration among musicians and researchers.
This approach, alongside other visionary and divergent thinkers in music — and the nature of musical thought itself — is currently being explored through my PhD, The Epistemology of Air, at the Orpheus Institute (Ghent, BE) and the University of Antwerp (Belgium).
Art and science have also converged for me through the Organophone project, through which I have pushed the boundaries of traditional saxophone performance by integrating technological augmentation. The project creates immersive, family-friendly experiences while exploring new aesthetics and technologies.
Lastly, the Out of the Ordinary new-music series and the Tonkunst Konstanz festival, which I curate, alongside lectures and workshops by guest artists and my work as a lecturer, form a natural path toward community. These initiatives bridge artistic visions, journeys, sounds, and history with everyday life — connecting specialized academic and research contexts with festivals, venues, and diverse audiences.
In essence, my journey is a testament to the profound impact of music, innovation, and community — three interwoven threads that continue to shape and define my life’s path.
