(ongoing project)

Wenn Dinge warm werden explores sound as a state of transformation – an acoustic climate sculpture in which temperature itself becomes voice, resonance, and atmosphere. Rather than telling stories, it investigates auditory states, where heat and pressure shape the materiality of sound.

(ongoing project)

Resonant Trust is conceived as a cycle of electroacoustic miniatures and a modular installation based on recordings of fathers in nonverbal interaction with their young children. The project translates micro-gestures of care, intimacy, and repetition into poetic sonic spaces, asking how trust can be heard before it is spoken. Both works are in development, combining artistic research with a search for new forms of listening, resonance, and shared presence.

(ongoing project)

How to Stretch a Gong begins with a single gong strike – one impact that unfolds into a shifting architecture of resonance. Over seven to eight minutes, this sound is refracted, extended, and dissolved into new states of listening. What starts as a percussive event gradually transforms into a sonic environment: pulses drift apart, fragments glitch like digital dust, resonances stretch into luminous surfaces, and textures shimmer like heat in the air. Patterns repeat until they shift, dissolving into silence before returning in altered form.

The piece is conceived as a multichannel experience. Sound moves through the loudspeaker field, reconfiguring the space with each transformation: deep tones wander across the room, delicate details flicker at the edges of perception, dense layers hover in suspension. Instead of following melody or narrative, the audience inhabits a state in motion – resonance itself becoming an environment.

By radically limiting the material to one strike, the work amplifies perception and magnifies the transformations within sound. It oscillates between fragility and intensity, precision and play, opening a space where a single event expands into a world of resonant possibilities.

Hörspielhacking is a collaborative project initiated by Blablabor, Christina Ertl-Shirley, and Matija Schellander, in which artists are invited to “hack” one minute from historic radio plays and transform it into a new one-minute composition. Over forty artists from Austria, Germany, and Switzerland participate, dissecting, layering, and reassembling fragments of speech and sound. My contribution works with granular resynthesis, sample fragmentation, and buffered looping on the Make Noise Morphagene, bending voices and atmospheres into minute-long fractures of speech and static. The result is a condensed sonic drift where memory, noise, and resonance collide.

Gore & Gozd is an atmospheric sound composition commissioned for the permanent exhibition at the Persmanhof Museum – a site dedicated to remembering the resistance of the Carinthian Slovenes during the Nazi era. The work weaves together field recordings, prepared piano, kontrabass, and the sparse, echoing chime of cowbells to conjure a sonic environment that honours both memory and absence. Subtly layered, it evokes the daily life interrupted and the landscape of grief and resilience that followed the massacre of the families in April 1945. More than accompaniment, Gore & Gozd aims to open listening as an act of remembrance: sound as a witness, echoing through the exhibition space as a reminder of those lost, of resistance, and of enduring responsibility.