The Spatial Instrument series grew out of a sustained research question: what happens when space itself becomes a compositional medium, not a container for sound but a structure that shapes how sound is heard, moved through, and understood?
Beginning in 2019, this research led to the development of custom spatial DAW systems that treat three-dimensional space the way a traditional sequencer treats time. Virtual spatial structures define how sound behaves in a room. Physical instruments give performers and audiences the means to reshape those structures in real time. The boundary between composition and architecture dissolves: a room is a score, a listener’s movement is a performance, and the act of hearing becomes an act of spatial decision-making.
This framework also opened a line of inquiry into non-visual perception and accessibility. If spatial sound can carry narrative, orientation, and choice without relying on vision, it becomes a medium through which people who navigate the world differently can participate as authors, not just recipients. Several projects in this series explored that possibility directly.
The technical and conceptual tools developed through this research continue to inform my current practice, where spatial audio serves not as the primary subject but as one layer in a larger audiovisual system.