I have performed contemporary compositions for Bass Clarinet, with or without tape. At the moment i mostly study extended playing techniques and freeform improvisation, departing from the tone richness and complexity of the instrument into a deeper understanding of music and contemporary experiencing of linear, non linear and simultaneous forms of expression within the realms of sound and within the limits my possibilities.

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Besides being an instrumentalist and researcher I am engaged in making and producing (and performing live when possible) radioplays and docufictions for radio. In these forms places, people and words share time and space with literal and abstract forms of fieldrecordings and music. I find it a challenging and rewarding playing field, where the audiences are seduced but also expected to come further.

I compose and perform music for modern dance, film and installation art. (more info on my project page on my website) because of the universal connectivity between movement and sound, movement and image, image and sound, sound and sound i feel i cannot get enough diversity in my projects and encounters with other arttists, how brief they may be, it will enrich us ever more. I believe also as i have learned and practiced in my years as a theater composer and performer (within multimedia theater installations) that the way to be in modern performing art is addressing the lack of concentration on a global scale – that has to come from the artist and must be within a relentless simultaniousness in our artworks just as in live itself. Concentration means paradpoxically also tthat i am equally fascinated by simplicity and detail, and love repetitif behaviour of melodic and rythmic figures. But at the same moment someone else may play a typewriter, preach a sermon, eat a peach

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Theatre Works (between 1997 and 2006)

In collaboration with director Carina Molier realised several multimedia dynamic theatre installations/plays, by means of compositions, and interactive soundscapes (performed live)
-Chelsea Girl 1997), met oa Juda Goslinga, Katenka Woudenberg

Zuid Zuid West (1999), Big Boy (1999) (NesTheaters), Ruigoord De Geboorte (2000) en Ruigoord II (2001)- (Toneelgroep Amsterdam), met o.a Joop Admiraal en GJ Reijnders, ueen and King (2002) (Paradiso/Melkweg Prod.) met Lotte Proot, Huis van de Toekomst (2006) (Toneelgroep Amsterdam) met Halina Reijn