Originally trained ceramicist. Started working mainly with sound and time-related media around 2003. After an MFA in visual arts in 2007, I have been focussing almost solely on sound, electroacoustic music and lately mainly phonography.

Field-recording is a framework for different types of reflections, states and approaches, which each demand its attention. First the phenomenological and aesthetical state, the presence, the here and now, the Cagean moments where everything sings, and every sound has its rightful and logical place in the soundscape. Often that is enough. Going further into the material, one has the preparations, research and context. The whys, wheres and hows, spanning from the technical side, to the semantic and the contextual. These stages are just as important, and often they overlap, but mostly they are, and should be separate. Documenting a place, through recording, to writing and to memory represents for me one of the ultimate ways to enter a specific location, through listening, passively letting the space play its cards without my interference. Usually I let the space speak for itself. The preparation prior and while recording remains most of my contribution. Two ears, two microphones. One location, one take.