“I’m not so much interested in 'changing the sound', per se. What I’m really interested in is creating sound worlds, and sound paintings. I find that electronically, that is probably the easiest way of achieving that; you can create an orchestra of those reed sounds, just in whatever software you use.”
“Every composer has listened to, and listens to, lots of music that isn’t contemporary classical music, or classical music. We can try and make this division within ourselves between the music we listen to outside of our work and the music we compose. [But] for me, something that has brought a lot of life into my score-based music is trying to dissolve that barrier as much as possible.”
“I make things to say 'this is how I see the world', and to ask if you see it the same way.”
"I think I produce my best work when I’m working cross-collaboratively. They are the most draining creatively, but I enjoy that feeling. I always work with a stimuli, whether it’s another person, or something else."
"I don’t conceive composition as a sonic process. For me it’s something that has to do with visuals, with words, with movements… with everything."
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