Voice as Architecture
Art Practice & Performances
Voice is architecture. It organises space, time, and attention.
My art practice begins where teaching ends: in the moment when the voice stops being a tool and becomes a presence — something that restructures the room, and the listener inside it.
Artistic Approach
My work positions the voice as both instrument and medium, a living, resonant body that can engage with space, science, memory, and myth. Trained as an architect before becoming a voice practitioner, I approach performance through the lens of acoustic space: how sound constructs an environment, how resonance shapes perception, and how the body becomes a living, vibrating instrument of extraordinary precision.
The practices I draw on (overtone singing, extended vocal technique, archaeoacoustics, breath work, and spectral listening) are not separate disciplines. In performance, they become a single, embodied inquiry, one where deep listening, breath, and somatic presence coexist and mutually sustain each other.
→ See my Photography, Drawing & Visual Art
→ See my Performances
Selected Works - Performances & Installations
Thēbae Desertae (2025)
Actor & musician (voice & duduk)
Little Theatre of Ancient Epidaurus · Athens & Epidaurus Festival, July 2025
Photo credits: Karol Jarek
Goat’s Ode (2024)
Performance
Music Village, Greece
A sonic landscape oscillating between darkness and light, between musicality, silence and noise, exploring the limits of the human voice.
The Grove of Synergy (2023)
Collaborative performance with Dorit Weintal
Culture Moves Europe mobility program
A European-funded interdisciplinary project that unfolds in Aegina, Greece at the Ancient Olive Grove. Over the course of three weeks, we closely collaborate with scientists and scholars to delve into the intricate connections between trees and humanity, investigating the “synergetic effect” between the tree’s body and that of humans. During this time, we use movement, sound, and image to create a multidisciplinary event | exhibition.
Photo credits: Dorit Weintal
Violets and Other Phonemes (2021)
Voice performance
Tsak Bam Festival, Greece
A vocal performance at the intersection of phonetics, poetry, and acoustic phenomenology. The piece deconstructs language into its acoustic building blocks (phonemes as resonant events) weaving spectrally rich extended voice with poetic text to explore the boundary between speech, song, and sound.
Non Essential (2021)
Video installation
Tsak Bam Contemporary Art Festival, Greece
A eucalyptus tree on the beach, brutally pruned, projected at large scale onto canvas.
No soundtrack. Only wind and silence.
Memories (2021)
Sound installation
Tsak Bam Contemporary Art Festival, Greece
A tree remembers it was alive. Inside its hollow, a hidden speaker learns to lie: birdsong without birds, presence without body.
Piece for Fan and Voice (2017)
Voice performance
Tsak Bam Contemporary Art Festival, Greece
An experimental sound performance exploring the resonant interaction between mechanical airflow (an electric fan) and the overtone-producing voice. The piece investigates the acoustic concept of vortex-induced resonance in a live, minimal performance context, an embodied precursor to the theoretical framework later published in the “Flute in the Throat” hypothesis.
Interdisciplinary Context
My practice does not separate the artistic from the investigative. The same attention I bring to spectral research (measuring formants, tracing harmonics across a spectrogram) is the attention I bring to performance: listening for what the space offers, what the body knows before the mind does, what a sound contains that no word can fully describe.
This convergence of science and art is not a method. It is a posture: the conviction that rigorous inquiry and aesthetic experience are not opposites, but complementary modes of being present to sound.
In this sense, my work aligns with the tradition of artist-researchers who work across art, science, and technology, including the lineage of Iannis Xenakis (trained as an architect at the National Technical University of Athens before developing a practice at the intersection of mathematics, architecture, and sound), Demetrio Stratos, and Iégor Reznikoff, whose archaeoacoustic research demonstrated that our ancestors placed cave paintings precisely where sound resonated most intensely.
Photo credits: Karol Jarek
Collaborations & Context
- Culture Moves Europe — European mobility program, The Grove of Synergy
Athens & Epidaurus Festival — Thēbae Desertae, Little Ancient Theatre of Epidaurus
Tsak Bam Contemporary Art Festival — co-founder; three performances presented
A Practice in Progress
I am currently developing new work that sits at the intersection of acoustic science, neural research, and live performance: using real-time spectrographic display as both compositional score and visual component, and exploring what it means to make overtone singing visible in a performance context. This work is in dialogue with ongoing collaborations in MRI acoustic imaging and MEG brain research.
If you are a curator, festival programmer, or residency coordinator interested in this work, I welcome contact.
I am particularly interested in residencies that provide access to anechoic or resonant spaces, acoustic measurement tools, or interdisciplinary science-art collaboration frameworks.