I am a composer of an entirely undecided genre. That is to say, my creative work is driven by a curiosity to explore and connect divergent music creation and performance practices with each other and across ideas, both from music and from other intellectual disciplines.

In the last year, my solo practice has merged with Melissa Grey's practice to form l'Artiste ordiniare—a singular creative entity that is greater than the sum of our individual practices. My portfolio reflects this development: highlighting Photon Ecstasy and Biophonic Beats, two of the ongoing and expansive projects that Melissa and I have created.

The core creative values that I claimed for my individual practice (collaboration, exploration, and presentation) are the core values of l'Artiste ordinaire. This fundamental overlap of my practice with Melissa's contributes greatly to the success of our creative working relationship. It is worth noting that collaboration, for us, is not inwardly focused. As individuals we collaborate with each other, but as a duo we collaborate with other musicians, artists, designers, and scholars.

The following six projects have been selected because they demonstrate the core values of my creative practice: collaboration, experimentation, presentation. Photon Ecstasy and Biophonic Beats are representative of my accelerating work with Melissa Grey. Not Less Than the Good represents a large multi-faceted project that was premiered at The Morgan Library & Museum. Vintage Machines details my work with vintage video game systems, including a successful workshop that has been presented at The New School, Harvestworks, and Lewis University. 60x365 is a podcast project for which I composed a new 60-second piece every day for a year. December Dance is an example of my work curating and producing concerts.

• Collaboration: Creating with others is an important part of my composition practice. The presence of other creative minds, with their own backgrounds, knowledge, and experiences, elevates and refines the ideas and strengthens the project.
  
  
• Exploration: Every new project is an opportunity to research ideas—from music, art, science, philosophy, anthropology, literature—that can be integrated into my process and practice. By constantly learning, I can continue to shape the evolution and development of my creative voice.
  
  
• Presentation: The experience of listening to music is profoundly shaped by the elements surrounding the music—the disposition of the performers and listeners, the place of performance, and the moments that precede and follow the music. As much as possible, I like to incorporate presentation considerations into the creative process, attending to the complete experience of the music.