Cetraria Islandica
electronics | 09:12 | 2017
Premiered at Teatro Espace in Torino, Italy on September 13th 2017 
On the Lichens collaborative electronic music album on label obs, Russia
Grave intersect regularity, disrupted extremes connected in a multiple layers structure, soundwaves extracted from sonic dust, soft yet resilient.

On A Drip
electronics | 24:27 | 2017
Premiered at Macao, Milano, Italy on June 9th 2017
Music for video art film Drip
An introspection, with a plant on a drip as base, leads to flashes. How does what we create and materialize around us define us? Colors, commitments, forms, neologisms, sexualities, modi operandi, obsessions. Creating our box instead of conforming to one. Or destroying them all, carefully.

Porträten | Porträten tvō
electronics | 12:19, 12:15 | 2014, 2015
Part of the BIFEM 2017 festival in Bendigo, Australia
Two albums of six portraits as fleeting intimate vignettes. And a dried-out blood insert. Presented without frosting, dissimilar, these profiles are redrawn, recounted ou decorously eluded, arranged face to face or side by side. Punchlines, gentiana, facets, multiplicity, ethanol, feelings, ascorbic acid, ambiguities, cyprine, plasma, features, perceptions, glazes. Served as gelly, in negative, as a cupcake, in exacerbated colors, phosphorescent, as reflections, leveraged, or unflaggingly tracing its route. Are you depicted in Porträten?

small ensemble | 6:30 | 2015
Premiered by Ensemble Court-Circuit on May 5th 2015 in Paris, France
Does the matter of this piece deal with social classes, sexes, identities, races, cultures, orientations, human/animal or gelatin/agar-agar relationships… or all of them at once? A fact is unquestionable, what stands as forte won’t become strong as well as what stands piano won’t be characterized by discretion. In this piece where the maximal musical dynamic is in fact piano, the (hi)story – as long as the recent past could hypothetically be rewritten – gets constructed in the infra. The essence is not there.

Avec la brume, je pourrais tomber.
electronics | 03:00 | 2014
Part of a collaborative electronic music work about writer Marguerite Duras
(I could fall, due to the haze.) Waves of imbricated memories, hints of stillborn imminences… Flimsy standpoint facing the desire of abandon driven by the strained dereliction of the desire.

female voice and percussion, electronics | 05:00 | 2014
(Inflections, shifts) In a sceptic, cold indifference and circumventing narration, Inflexions plays with the falsified emotion, the denied protection, the assumed masks, in a balanced control between the feeling and the observation of the feeling, by us as well as by the other. Inflecting the expectations, anticipating the probability of it’s own surprise, projecting, tinging meaning onto the seemingly banal. Everything is looping up, transforming itself, rounding off and tangling up perpetually. The three musicians are part of a whole whose each of them possesses only one of the three keys. The electronics projects the possibles and their unfolding paths neglected to abandon. An abandon flexing, tearing apart the concrete of the present.

small ensemble, electronics | 06:00 | 2014
Premiered by Ensemble 2E2M on May 30th 2014 in Paris, France
Passages plays on the constant relativity, the relativity lead by instinct and pushed forward by a slightly subdued abandon. Nothing leads to an end because everything was already in place and only waiting to be caught up. A sway between individuality and observation, multiplicity and anticipation. These passages can depict more, or be simplified. The only signs of the presence of the passages are these entrances that we caught up glimpsing within this already present reality and that are bound to survive. They will, solely because the diminution of interest we take interest in them individually, end up evanescent.  « I wouldn’t have done so if I didn’t hate balls so. »

Seul le (6) que…
electronics | 08:01 | 2014
(Only the (6) that…) Rushed (1), (2) reinitialized her (3). (2) forgot. The first (4) in such a while. It was (5) who advised it to her. In order to take in account the (6) she used instead of persisting to incense herself on a (6) who flew without any (7). Only the (6) that (2) could take in account was important. Only the (6) that (2) controlled was important.

female voice | 03:40 | 2013
j suggests what could have been or what we could have been, a few decisions or small understandings apart… and their sink into oblivion. This miniature piece is the place of a performance act where the expression overplays the minimal aspect of the text.
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