As a composer, I am coming to realize the significance of listening and raising our aural awareness to understand our sonic environments. These soundscapes encompass not only sounds produced by human and non-human beings, but also those that are inaudible—internal sensations within the body and mind, including feelings, thoughts, memories, and emotions. 

In my compositional process, I draw attention to everyday encounters of the surrounding environment and my own sensations. I document these sonic, visual, and/or tactile observations as a gestural framework for making sound and listening. This approach resonates with Marcel Duchamp’s concept of “readymades” where an ordinary object is re-contextualized as an artwork. Similarly, it aligns with the therapeutic impact of art-making embodied in Yoko Ono’s personal healing experiences, where creative practice becomes both catalyst and care. By blurring the boundaries between art and everyday life, I seek to invite the performers into a space of imagination, creativity, and curiosity embedded within the ordinary. I am drawn to composing scores that are invitational, sensorial, and contemplative – works that can potentially foster a sense of well-being, and cultivate a sustainable and reciprocal relationship within oneself and with others.

Furthermore, my works often call for multiple possibilities of realizations from the perspective of accessibility. In regards to the performances, I often reflect on alternative modes of experiencing performance that challenge the conventional framework of the concert halls. From a sociocultural and economic view, the conventional venue of a “concert hall” has a vivid structure among the audience and architectural division between the performer and audience. I question this framework which is deeply rooted in the Western anatomy of classical music when putting my composition into this particular performance framework. Instead of the rigid, silent social etiquette within the spectatorship at the proscenium, I am interested in cultivating a curatorial practice as a composer to challenge and create an inclusive and participatory performance space that fosters a sociable space that invites physical mobility in spectatorship and interaction among the individual audience members.