There are two main layers to the process of creating these pieces. Specific memories fuel the creation of raw musical materials via flute explorations or in the case of the interludes, through field recordings. This is then manipulated, reordered, and tinkered with, mostly through a type of collage. This process, for both performance-driven and sampled recordings, reflects the amorphous nature of memory, where memories are reframed, recontextualised, and re-remembered to fit the present. I feel that sound is an artform uniquely positioned to capture the fluid, temporal, and ephemeral nature of memory.

I play on a one-keyed baroque flute as I find it more nuanced and tactile than its modern day equivalent and capable of a rich array of pitch and articulation possibilities. "