Since moving to Europe over a decade ago, my initial classical violin route has somewhat deviated into a collection of varied paths. Due to both my own personal interests in various modes of artistic expression, and through experiencing the openness to multidisciplinary creations at leading international contemporary music festivals, my professional life has become that of an actively performing contemporary violinist constantly exploring and experimenting with interdisciplinary musical-gestural performances. For my own artistic realisations, I am curious about the fact that to generate sound, we require movement; and through moving, we almost always produce some version of noise. So, when presented with a display of sound and movement, we instinctively search for something that we find visually attractive, dramatic, enticing or intriguing, and this is further amplified when we ourselves are the contributors in these sound-movement-dramatic acts. I am energised by both my own continual interdisciplinary investigations, and similarities in what I see reflected in the changing landscape of contemporary festivals on the global stage.
There are 67 new pieces of Australian music in the world and you can hear them all in a festival at ANAM.