I am a performer-composer whose work traverses the space between social structures, individuality, spontaneity, and explores resonance in physical as well as cultural space. Through extreme extended techniques, I challenge conventional instrument playing, exploring the possibilities and limits of sounds within an instrument. My music is informed by political, social, and cultural awareness of the systems constituting our societies.
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I have participated in Manifesté-IRCAM (FR), Darmstadt Summer Course (DE), OneBeat Taiwan (TW), Experimental Institute at Antenna Cloud Farm (USA), Ensemble Evolution (USA), Karp Kamina Residency (Togo), ANMA+NordPlus Music Forum (EE), Dark Music Days (IS), Time for Music (FI), ActinArt (DK) among others. I hold degrees from Universidad Autónoma de Baja California, Boston Conservatory at Berklee, Listaháskoli Íslands and I am enrolled at the University of California-San Diego.
Personal Statement
I am a composer, improviser, and researcher whose work explores the tension between social structures and individual expression—between inherited musical frameworks and the personal languages that emerge through improvisation, collaboration, and embodied decision-making. My practice is grounded in experimentation and critical reflection on how music is created, shared, and experienced.
Working at the intersection of composition, improvisation, and sound-based research, I approach musical knowledge as embodied, relational, and shaped by community. I am particularly drawn to musicians who reinvent their instruments, transforming technique, notation, and performance into personal forms of knowledge. My work similarly engages extended techniques, graphic and contingent notation, and collaborative processes—not as novelty, but as ways of articulating agency, identity, and the socio-political conditions that shape expression.
Growing up in Mexico within patriarchal and colonial structures, I became aware early on of how systems influence who is heard and what forms of expression are valued. My education began in a Eurocentric framework that left little space for the identities I sensed but could not yet articulate. Crossing the border weekly to study in San Diego exposed me to both opportunity and inequality, shaping my understanding of access, education, and creative agency. These experiences continue to inform my work and my commitment to engaging with marginalized communities.
Migration—geographical, cultural, and artistic—remains central to my practice. Moving across contexts has reinforced my commitment to collaboration, deep listening, and creating spaces where diverse forms of musical knowledge can coexist. I view performers as co-creators, whose histories and embodied intelligence shape each work through dialogue and experimentation.
Some of my work has developed through collaborations in Togo, Greece, and Taiwan, where I engaged with local communities through workshops, interviews, and shared creative processes. These experiences affirmed my belief that meaningful artistic exchange can emerge across difference, and that music can be a space for collective invention grounded in mutual curiosity.
I am committed to regenerative artistic practices that challenge inherited hierarchies and remain open to transformation. My research focuses on how improvisers develop individualized musical languages and reimagine their relationship to the instrument, questioning dominant models of authorship, notation, and authority. My work seeks to create music that is collaborative, critically engaged, and rooted in lived experience—expanding what composition can be while fostering inclusive and exploratory creative spaces.