Marblesplash (2024)
Commissioned by Orpheus Sinfonia. Inspired by the marble and splash techniques used in oil and acrylic painting, Marblesplash encapsulates the dynamism of action painting, embodying a vivid and percussive drive throughout. Drawing further inspiration from visual art, the piece creates a sonic illustration of marbles and splashes, resulting in a vibrant, colourful steeplechase. This work captures the essence of visual art in motion, translating the high-spirited intensity and festivity of the painter's canvas into a rich, dynamic, orchestral blossom.
Aquatic Fluxations |
Ebb and Flow (2024)
This piece was created in collaboration with the English National Ballet School and the Royal College of Music, culminating in two performances at London’s Wallace Collection. Inspired by the Italian Renaissance painter Titian’s Perseus and Andromeda (1554–56), its depiction of water served as a starting point for both the music and choreography. Working with dancer and choreographer Aparajita Chadhurri, we explored the fluidity and dynamism of water, weaving together field recordings I recorded from the UK, Italy, and Japan to form a sonic journey—from gentle streams to crashing waves. The solo cello, evoking the mythical sirens of Greek mythology, brings an eerie and alluring quality, its undulating lines blending with the aquatic soundscape. The choreography, enriched by the addition of a second dancer, Eibhlin Minatsis, portrays sea nymphs and sirens with graceful precision, drifting in and out of sync with the music to embody the ebb and flow of water. The resulting piece is a dialogue between music and movement, a fluid interplay inspired by myth, nature, and collaboration.
AMANARI 天鳴 (2023)
“AMANARI” is a multi-disciplinary stage production featuring music, dance, and projection-mapping technology, allowing the audience to enter the world of two 300-year-old hallmarks of the Japanese Rinpa School of Art. This 20-minute production composed by Daniel Musashi has two parts: the first features Kōrin Ogata’s “Wind God and Thunder God,” and the second, Hōitsu Sakai’s “Flowering Plants of Summer and Autumn.” These two are painted on opposite sides of the same pair of folding screens, creating a unique dichotomy that represents “freedom and divinity” and “manmade and nature,” respectively. The production follows this dichotomy of the two paintings: the first scene pairs orchestral music with improvised dance, and the second features electronic music with a choreographed dance, embodying the two paintings’ themes. The two scenes are complemented by an introduction, intermezzo, and epilogue, creating symmetry in the structure of the work. Taking place in the Britten Theatre, the audience is invited to sit back and enter the world of these paintings woven together through this multidisciplinary tapestry.
Feathering in Blue (2022)
"Feathering" is a technique used in painting where, through the use of delicate brushstrokes, two or more colours are smoothed out to create a blurred but warm gradation. Inspired by this, I chose 3 of my favourite shades of blue and sought to recreate the mystical experience of walking into an exhibit featuring the multi-faceted emotions of these hues of blue.
画竜点睛 Garyou-Tensei (2021)
“Garyou-Tensei” is a meditative sound-painting, telling the story of the eponymous Japanese proverb which means "to draw the finishing touch”. The proverb originates from an old Chinese story about a painter who drew a dragon so real that when he drew in its eye, it came alive and ascended to the heavens. I was inspired by the many emotions of the sound of the wind and portrayed them with the Shakuhachi: the perfect instrument to breathe life into the vast colors of the wind.