CD review: “The idea of light emerging, dying, emerging again is a sensual one and it is done here with great beauty and avocation” – New Music Connoisseur, NYC.
Dreaming: The state of Dreaming, imagining (while awakened), is for an artist as tangible and forceful as the phenomenon of nature. It is the way my mind functions, the source of my creativity, as well as a spiritual necessity. I could describe it as an inherent mental disposition, the process of internalizing any experience as raw material to be transformed into their artistic statement. Australian Aboriginal artists define Dreaming as: “What we draw on from our memories, and think, imagine and create in our daily lives is our dreaming.” – Djon Mundine, Bundjalung man and Aboriginal Curator, Campbelltown Arts Centre.
While indigenous cultures integrate the art of dreaming in their community, in our “civilized” culture, Dreaming is mostly considered as a luxurious, non-functional activity. As a “dreamer” I define Dreaming as a free-spirited, empowering, and emancipating collective artistic-human phenomenon, that defies effortlessly and peacefully any normative thinking.
The Flute and Composition: The sonority of the flute is the core of my art. It derives from my early training and continuous exploration of the discipline of the legendary French Classical-Flute School aesthetics. Within this rich foundation of inspiration, finding my own expression is an ongoing process, both as an interpreter and as a composer on the acoustic flute, electro-acoustic flute, and electronic music composition. Like a choreographer or a visual artist, continuing a lineage of serious art works while re-examining their rules, as a sound-artist I challenge my own heritage of conventional concepts about tone structure, tonality, rhythm, harmony, melody, etc.
Multiplicity and hybridism function as the infrastructure of my work. From a broader perspective of sound and expression, I use a multilayered palate of sound and noise, which derives from a passion for universal eclecticism and improvisations. Moreover, in spite of consciously differentiating between distinct musical aesthetics, genres I work through – Progressive-Funky-Jazz; Contemporary-Classical; and Music for film and choreography – I translate some elements from one genre into another. In the process of translation these elements become transformed into a new hybrid of yet undefined expressions. Since hybridism has always been a part of an evolutionary organic process, I perceive it as natural for my work as well.
For instance, I transform and exaggerate segments of free jazz improvisational and rhythmic patterns into the aesthetics of contemporary solo flute improvisational pieces. On the other hand, I implement into Jazz composition elements typical of twentieth and twenty-first century modern and contemporary music: impressionist tonal coloring, atonality, poly- rhythm, free form, and electronic tracks composed of noise. The approach of Musique concrete, pioneering composers of sound-art, is an essential source of inspiration.
I use the medium of electro-acoustic composition for film soundtrack and modern choreography, as a multimedia art form, to experiment with diverse sound textures, while using all audio sources mentioned above, plus miniature samples from ritualistic and spiritual music of indigenous cultures, as well as all eras of Western classical orchestral, vocal and chamber pieces. Essentially, I create electro-acoustic compositions by using audio, both sound (exact pitched like a music instrument) and noise (not-exact pitch like machines), as different “instruments,” in a big hybrid orchestra, performingsymphonic audio collage.
Finally, I perceive the art of Dreaming as a kind of inevitable process; not cognitive but rather intuitive, and deeply rooted in the collective and individual conscious and sub- conscious states of being.