About

Energy is the universal "currency" that enables all physical processes and transformations; work is done when a force moves an object over a distance. For me the work begins with a stylus, a philosophical tool used to think, count, draw, record, write, etch, scratch, and mark.  I’m interested in marking time, recording light, movement and sound and drawing out space to engage with language, nature and technology; the ‘recordings’ become a dynamic archive and material to build sonic and visual, poetic gestures in architecture.  Drawing is not limited to a two-dimensional plane, but rather drawing is a record to play, sample, mix and re-mix in space. 

A stylus, movement, measure and site is the location where the intangible becomes tangible, where light and sound can articulate space.  By meditating on the ephemeral and the immaterial as material, I draw connections between linguistic elements, natural environments and technology to reference the space between drawing and music through the lens of improvisation and systems of chance. For me, drawing is a mental activity that requires coding and decoding of the natural world and recording it with analog or digital recording devices—these records become a dynamic material archive.

DJ culture and sampling have reshaped the ways we listen to music and coexist with nature. The recontextualization of familiar sounds, songs, and sonic identities has produced layered forms of existence and historical memory, building bridges across generations and creating new modes of connection and relationships.

My research in turntablism, allographic drawing strategies and experimental music performance results in signs that are open, embracing the audience as an integral component of the work.  Hybridity, nomadism, code switching, hip hop philosophy and Indigenous Mexican culture are rooted in my practice.   Recordings are taken out of context, re-played, re-mixed, re-shaped and re-presented anew to explore a visual approach to electronic music and a musical approach to drawing.  The work oscillates between states of representation and fragmentation, object and process, analog-digital,