Throughout my career as a composer, I have pursued a non-conventional path, weaving contemporary art music directly into pedagogical and community-building frameworks.
A selective overview of my work as a sound artist composer, and educator follows.
Jump to section: 1. Artistic research | 2. Pedagogy |
1. Artistic research
Since graduating from The Royal Danish Academy of Music in 2006, my artistic research has focused on exploring art and music as means to build culturally sustainable communities. This practice unfolds in roughly three overlapping stages:
- Art music as a motor for societal inclusiveness (2006 – present)
- Building Sound Collectives (2013 – present)
- More-than-human agencies (2019 – present)
These inquiries manifest in texts, talks, compositions, performances, and sound installations.
1. Installations
Machines that imitate life – life that expresses itself through myriad forms
1. Installations
Machines that imitate life—life that expresses itself through myriad forms
For two decades, I have used software, primarily Max/MSP, to build frameworks for human-machine interaction that drive sonorous innovation and challenge users to forge new connections beyond the human mind. In recent years, I have expanded my toolbox to include modular synthesizers and homemade CMOS-based circuits. This shift responds directly to the advent of Large Language Models (LLMs): while AI makes traditional computer programming more accessible, it simultaneously strips digital creation of its tactile, hands-on meaning.
- Strømvæsener / Current Beings (2026): Autonomous electronic sound sculptures built using CMOS chips and simple components, reacting to environmental light and touch. Read about the project.
- Fuerteventura (2008): Interactive installation utilizing Max/MSP and video tracking. Presented at the ISCM World Music Days in Riga, created in collaboration with visual artist Thomas Lindvig. Read more.
2. Performances
Designing and creating acoustic and electroacoustic performances is essential to my artistic research. Although my practice is always evolving, these events mark specific culminations of ideas and methods. As a compositional method, I use improvisation to generate material, unfolding in a three-step process: 1) improvising on the piano and recording via MIDI, 2) analyzing and notating the improvisation, and 3) synthesizing a score that combines direct notation with graphic and open score frameworks.
Composing and premiering
- While I Lay Dreaming (2023): For two saxophones, premiered in September 2023 by Stefan Baur and Anja Nedremo at the opening of the art exhibition About Connecting Grounds.
- Dance I & II (2023): For piano, premiered at Sorø Kunstmuseum during the event ‘Ny Klavermusik i Sorø’, organized by the composer. An open-form, improvisation-based composition. Find the score here.
Composer-performer
Since 2024, I have increasingly worked as a composer-performer, a role that has profoundly liberated my artistic scope. These performances typically unfold outdoors within art exhibition contexts, with the clarinet serving as my primary instrument. This instrument unites a woodwind acoustic palette with mechanic-technical-tactical logic and—crucially—breath as a motor, forging a direct conduit to respiration, the foundational pulse of all Earthly lifeforms. My focus centers on the more-than-human and our speculative, perhaps fictional, possibilities for cross-species interaction. Sci-fi meets bioart.
- Biernes Geometri (2025): Live electroacoustic performance and album exploring clarinet and Max/MSP technology, sonifying spatial structures and movement. Album details.
- Korkelmens Dialekt / Dialect of the Cork Elm (2025): Live electroacoustic performance—a duet between my clarinet and a cork-barked elm acting as itself. A specialized contact microphone (‘ecoutic’) attached directly to the trunk transmitted live vibroscape sounds through the loudspeaker. Read more.
- Ex Humo (2024): Live electroacoustic performance featuring melodica and mycelium. By attaching bioelectric sensors to fungi, I integrated the microscopic electrical fluctuations of the organisms with the poetry of Inger Christensen. Read more.
3. Artistic research, texts & talks
Artistic research & the Global South
Fluent in Spanish and grounded in educational anthropology, I examine cultural expressions and their underlying economic and social infrastructures in the Global South. My fieldwork includes multiple international residencies at Lugar a Dudas in Cali, Colombia, where I participated as a visiting artist in 2016 and 2019.
- 2019: Homemade Instruments in Cali’s “Most Dangerous Barrio”
Fieldwork investigating informal music-making practices designed for young children excluded from formal education due to economic barriers. Read more. - 2016: Composición Improvisada en Grupos
Facilitated workshops and lectures on improvised group composition at the Universidad del Valle in Cali, Colombia. Read more.
Cultural Sustainability in a Scandinavian context
Cultural Sustainability in a Scandinavian Context
Under the banner of cultural sustainability, a significant portion of my artistic research investigates how cultural activities—specifically sound as an expressive medium—can foster culturally sustainable collectives. In May and September 2015, I was invited to facilitate workshops and deliver presentations at the international seminar “The Role of Culture in a Sustainable Society” in Helsinki, Finland.
2. Pedagogy
Confronting the structural alienation surrounding contemporary art music and the limitations of operating within insular cultural spheres, I recognized early on the critical necessity of pedagogical engagement. This commitment spans formal academic training, institutional instruction, and grassroots educational settings. Across these diverse contexts, a unifying imperative drives the work: the drive to forge sustainable human connections through sound as an active medium of expression.
1. The Street as a setting
While formal institutions can act as catalysts for social change, the core of meaningful community-building happens in informal spaces. Grounded in this perspective, I have facilitated numerous street interventions—including happenings, workshops, and inclusivity initiatives—deployed across festivals, local community events, and spontaneous guerrilla art actions.
- U-STED (2013–2015): Community Art & Cultural Sustainability. As founder and director of Project U-sted—a neologism I constructed by merging utopia with the Danish word for un-place (ud-sted / u-sted)—I established a volunteer-driven community art platform tailored for youth aged 12–15 on Vesterbro, Copenhagen. The initiative focused on fostering cultural sustainability, local identity, and shared ownership of urban spaces. By bridging pedagogical anthropology with professional artistic practice, I facilitated collaborative workshops, street art initiatives, and green urban interventions—empowering young participants to creatively reshape and connect with their local neighborhood. Co-funded by Vesterbro Lokaludvalg (The City of Copenhagen’s local district pool). Read more.
- BAREFOOT SOUND KITCHEN (2015)
A participatory street intervention and mini-festival hosted during the Copenhagen Jazz Festival in collaboration with the Barefoot Records collective. Operating on the premise that music composition can be as accessible as cooking, the project dismantled the boundary between artist and public by placing five interactive microphone stations on public squares across Copenhagen (including Kgs. Nytorv, Nyhavn, and Regnbuepladsen), alongside indoor performances at the Dome of Visions. Members of the public were guided through creative processes using raw audio samples recorded from Barefoot musicians to co-create, mix, and publish original compositions on the spot, shifting the musical experience from passive consumption to shared, public authorship.
With support from the Danish Arts Foundation (Statens Kunstfond)
2. Formal educational settings
- Assistant Professor in Social Education (2017–2019)
UCC / Absalon University College (Copenhagen and Slagelse)
Taught creative arts and practical subjects to prospective social educators, integrating artistic methodologies into professional training to prepare students for community-based pedagogical work. - Primary School Teacher — Music & Mathematics (2020–2024)
Danish Public School System (Folkeskole)
Taught primary and lower secondary students (grades 4–6), pioneering experimental, play-based pedagogical frameworks that integrated digital tools, interactive music applications, and foundational coding concepts to bridge creative expression with abstract logical thinking.
- Facilitating Creative Sound & Composition with Children
Through Koda Skolekontakt, I led interactive workshops designed to bring contemporary music composition and sound art directly into primary and secondary schools. Using Max/MSP as a central framework for live audio animation and sound improvisation, the sessions focused on fostering collective creativity, encouraging students to experiment with acoustic exploration, build improvised instruments, and co-create original musical pieces—effectively bridging professional avant-garde practice with playful, hands-on learning. - Koda Skolekontakt is a Danish nationwide outreach program connecting professional composers and musicians with schools to facilitate participatory songwriting and music-making experiences for children.
3. My own education
- MA in Educational Anthropology (2016)
- Aarhus University, Denmark
- Master’s Thesis: Investigated Denmark’s 2014 school reform mandate for daily physical movement and its encroachment on autonomous recess (“in-between spaces”). Using innovative ethnographic methods, the study explored children’s non-representational, non-verbal interactions during recess to uncover an anti-hierarchical social order (“action currencies”) that challenges institutional perspectives and highlights children’s broader political and social exclusion from mainstream society.
- MA in Composition and electroacoustic music (2006).
Royal Danish Academy of Music.
Studying composition with Bent Sørensen and Niels Rosing-Schow, and electroacoustic music (primarily MAXMSP) with Ejnar Kanding and Hans Peter Stubbe Teglbjærg. Orchestration with Hans Abrahamsen. - BA in French and Musicology (1995).
University of Copenhagen, Denmark.
Explore Booking & Formats: Discover available public workshops, interactive sound installations, and festival formats designed for institutions, public squares, and schools.