Featured Work

No Scars (2023) is the first work in my collection the water will come to feature explicit notation and explicit performance direction. The harmony, an 11-limit realization of a D minor tetrachord, is sustained “quiet, constant, and thin” as a bed, while a performer is instructed to speak the given text; a cut-up, piecemeal monologue about my experiences with pain and self harm as a teenager. In this performance, the harmony is provided by three synthesizers and a cassette tape loop, while the text is presented in two forms: a layer of ghostly whispers and my own chanting, electronically harmonized performance.

​Along with my original text, this  performance includes a brief fragment of Casey Plett’s short story ‘Lizzy & Annie’ 

Burner (the dust we breathe in) (2021) is an electronic performance piece that relates my personal experience with transphobic violence. It layers improvised synthesizer textures with recorded descriptions of those experiences, stream of consciousness responses to those experiences, and readings of transphobic conspiracy theories sourced for various places online. these sounds are then processed using feedback in MaxMSP. These sounds, as well as the "physical sounds" from a number of cassette players, accumulate over time until they become unbearable, and the audience is invited to join in an action to stop them. 

Content Advisory: Violence, Slurs, Transphobia

Lethe [forgetfulness] (2022) is an excerpt from my in-progress theater work Mnemosyne in the Cult of Memory. I blend autobiographical fragments, monologue, drone, and autotuned vocals in a questioning of my own past, trying to grasp and frame who I was then, and bring them into the heart of who I am now.

Texts by me except for excerpts from 'Divisions Underground (why do men continue to ask stupid questions)' by Pauline Oliveros.

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