works and collabs//


Collaboration with the Italian-Panamanian aerealist Eleonora Dall´Asta and the sound designer Julián Osvaldo Díaz. Matmo comes from the words “materialism” and “monster.” This piece talks about how the air body, space and objects interact and transform, as well as their sound; if it is true that all aspects of the mind are the result of material interactions, in what do the objects and spaces with which we interact? The illusion becomes a focal point as that gift that we humans have to believe in what is not visible but that somehow helps us to stay alive.

This piece has been showcased in the festival Prisma (Panama), CirkusMania (Stockholm) and Fun Fatale (Czech Republic).

Brytningsindex {n} Índice de refracción

Brytningsindex is a sonic choreography, an investigation of physical gesture as sound interface.

The proposal settles down around the concept of refraction as a metaphor for a human-digital refraction generated between the different mediums. 

The physical space- the hands/arms rotations, traces and angles- transforms the digital space generating an organic dialogue, an immersive dance of textures, rhythms and timbral atmospheres.

Physical movement is captured by motion sensors (accelerometers and gyroscopes). The strategies to decode the data include complex mapping systems as well as machine learning tools. The data-to-sound conversion is based on the use of algorithmic composition in supercollider language.

As a result, the stage becomes a responsive environment whose visual and acoustic properties emerge from the mutual interactions between the performer and the software.

Resonance Corporel du Piano Virtuel V. 2.0

This piece is an extension of the version 1.0 that includes video tracking of the movement through a Kinect camera.

All the sounds are recordings of my own piano extended techniques as a decontextualisation of them.

This piece was premiered in September 2016 in the SMC Computer Music Association S.T.R.E.A.M Festival in Kampnagel, Hamburg (Germany)

Espina / Ofrenda for cello and tape

Composition for cello and tape composed in collaboration with the cellist Emilie Girard-Charest, performed the 29th March 2016 in Lyon, Salle Varèse.

Islas Sonoras

bosque musical

los pájaros dibujaban en mis ojos pequeñas jaulas.

                 Alejandra Pizarnik

El viento, la paja, los cactus y las sombrasdibujan en mis oídosislas sonoras.
Este album recoge algunos de esos espacios, atravesados de texturas, densidades y senderos, como mapas de lugares que solo existen en la vibración del aire.

Toggle^\\ & Drone //*

These two pieces are an exploration of the two natures of the piano: as an on/off instrument (binary 0, 1), characterised by relatively short sound, and as a big resonant being that sustains the sound (extended use of the piano). The electronic interface was built thinking of integrating the piano, according to these two characteristics:


Four computer keyboards and a radio circuit bending are the extensions of the piano.

The sounds are samples of the sounds of different computer keyboard keys.

The idea with this set up is recycle technology and give a new life to those keyboards, speakers, circuits, joysticks, etc. using them as musical instruments.

Drone //*

Crotals, video tape, tibetan bells and other extended techniques are used combined with a loop station with a small nano controller, hide in the piano box. The result is a stream of sustain sound, resonating, and creating a drone atmosphere.

Premiered in April 2015 in Stockholm 

 Gestural piano

This is her new approach towards playing piano. Taking the usual piano movement, this is used as “musical material” but not in terms of sound, but in terms of “visual and gestural material”. There is lot of imaginary sound in the movement related to sound, and in this performance the audience in some point starts to listen sound through the pure movement when there is no sound.

Influenced from the practice of contact improvisation and contemporary dance, as well as from composers as Therry de Mey, Simon Steen-Andersen and Helmut Lachenmann, this is a continuous interest side of the performatic and compositional practice.

Premiered in December 2014 in Tallinn


This piece is a research of the relationship between the voice and the instrument. Mixing the different possibilities in terms of sonorities and timbres between the voice and the instrument. 

This piece is possible to play for any instrument, and the score is written using graphic notation, open up the possibility to every performer to create a different interpretation. The idea with this notation is giving lot of space to the performer to act also as composer and take decisions in the study  process. In this case the performer’s possibilities, aesthetic and creativity has a very strong influence in the result of the piece.

It’s dedicated to the Colombian cellist Sergio Castrillón, how played it inside the  “SELLO PUHUU ESPANJAA SUOMALAISEN YSTÄVÄN KANSSA” in ForumBox in Helsinki, the 23.04.2015