Sound -any kind of sound that can be aurally perceived and captured through sound recording or synthesised electronically- can become the constructive material, force and unit of a sound-based work of art. The fundamental processes of thought, imagination, perception and practice of  making this kind of sounds part of a constructed organisation -that of the whole of an artistic work- have been mainly initiated and formed through the practice and aesthetics of electroacoustic music. 

Within this extremely wide aesthetical and practical realm of electroacoustic music I have been developing my creative, artistic and compositional thought, imagination and practice. The result of this development has led to a continuously evolving personal artistic language. A language that gave shape and form to a significant number of electroacoustic music compositions, exploring sound as an object and an entity and focusing on the intra and inter musical narrative potentials of the medium. A language that also has been expressed in a live-performative situation in the format of  live sound manipulation practice, forming a dialect with the languages of the co-members of the live-electronics assembles I have been part of. Finally, a language that, while maintaining the strong electroacoustic music-based craft, has attempted to overcome possible aesthetical constrains imposed by the genre, leading to the composition of both music for contemporary dance performances and soundscapes and sound works that coexisted with conceptual-installation art works.



I am grateful to Ludger Henning and Peggy Papatheodorou for the beautiful portrait pictures they have provided me with.