My compositional work has developed in parallel with and as a complement to the practice of instrumental improvisation, a dimension I consider essential for the pursuit of spontaneity and expressive authenticity. Through the study and performance of contemporary repertoire, I have had the opportunity to deeply explore themes related to the recreation of musical works, refining a personal approach to interpretation that encompasses both the technical and poetic aspects of performance.

My studies in composition have provided me with autonomy in both technique and theory, complemented by a continuous exploration of sound, particularly through the integration of electronic music. For me, the use of electronics is not merely an additional tool but an expressive medium that expands my sonic palette, enabling a fusion of the acoustic and digital, and a balance between improvisational instinct and formal construction.

The search for my musical language has been oriented towards the experience of "multiple sounds", treating sound not as a single event but as a combination of timbres and nuances that interact with one another, creating a complex sonic structure. This approach has enriched my music, introducing new timbral possibilities and greater depth.

Electronic music has played a crucial role, offering unlimited freedom in organizing musical material. Without the constraints of traditional instruments, the ability to manipulate sounds in real time has expanded my expressive possibilities, allowing me to explore new sonic dimensions.
Despite my timbral experimentation,form remains my ultimate goal. Form provides coherence to the composition, transforming the search for language into an organic and meaningful structure. The study of linguistics and structuralism has helped me conceive music as a system of interconnected signs, enabling me to organize sounds coherently, much like linguistic signs create meaning. This approach has enriched my composition, integrating linguistic theory and music.