My work explores music as a system of temporal, physical, & behavioral pathology. I am fascinated by the survival of co-present identities moving through a shared field of motion. As an artistic pursuit, this manifests as a rigorously calculated dialogue with polytemporal craft — regardless of surface-level complexity or subtlety.

In my vision, musical time is shaped by trajectories, pressures, and collisions. I believe that determinacy and clarity are not merely aesthetic choices, but my essential tools for engaging with logistical stress against musical identity. Polytemporality, then, becomes a form of disciplined coexistence: a way of building distinct worlds held in a delicate, precarious balance — overlapping, dueling, or refusing compliance.

My aim is to move beyond extemporaneous intuition and write music that uncovers and attempts to survive the furling of its own predicates. This often culminates in the hunt for revelation: in the form of energetic collapse, dissipation, or singularity within the manifold of sound. My music does not seek to perfect its DNA; it strives — as faithful as I can conceive — to endure, to feel, to become, or to die in the process. In this sense, complexity serves as a function of truth: that survival is difficult and it is either full or it is void of meaning.

Below, you can find the works written during PhD study at the University of York. Some are still being completed.