Ceci N’est Pas
Presented at Gray Area, Cultural Incubator Showcase (December 10, 11, 13, 2025)
Ceci n’est pas is a video installation that probes the fallibility and truthfulness of images in a world increasingly shaped by generative AI. Drawing from Magritte’s challenges to representation, the work stages a parade of AI-generated “selves”: distorted doubles of the artist, costumed, and recombined into a collage of performances that never took place.
The installation surfaces a spectrum of contemporary anxieties around artificially generated images: misrepresentation, illusion, counterfeit, trompe-l’œil, deepfake, misidentification, false attribution, artificial imitation, performative duplication, the proliferation of online personae. Each generated image is betrayal, simulacrum, treachery.
The video is surrounded by a surreal mise-en-scène: illusion of droplets falling onto the coat of the performer, rain slipping from the bowler hat of Magritte’s Son of Man, umbrella hovering in a dry sky.
AI’s attempts at realism reveal themselves as deeply surreal. Ceci n’est pas is an invitation to question what we generate and what we believe, and to embrace the estranging beauty of images that, in trying to imitate reality, lead us further away from it. It is a meditation on naming, self-representation, and the slippery boundary between the thing and its depiction. It is a play between “Héloïse” and “not-Héloïse,” between reality and representation, between the self and its multiple (illusory) doubles -- Not to Be Reproduced.
The Beating Heart
Presented at TIAT, as part of the Mozilla Foundation Creative Futures Counterstructures Residency (December 2025 - January 2026)
The Beating Heart is a sound installation that translates sonic vibration into visible, physical motion. The work consists of a framed sheet of mylar, a focused red light, a subwoofer, and a microphone connected to a real-time machine-learning system. Gestures on the microphone are captured and transformed into low-frequency impulses that travel through the subwoofer, agitating the mylar surface. As the membrane trembles, it reflects light into shifting caustic patterns on the wall, producing the illusion of a breathing, pulsing heart animated entirely by sound.
Rather than using AI to generate sound autonomously, the system functions as a responsive compositional partner, shaping feedback, delay, and transformation in real time. The red light expands and contracts as visitors fill the room and make contact with the microphone, transforming the space into a breathing organism.
Confessions
Presented at CCRMA Intermedia Workshop (2025)
If I fall, will you catch me?
A video-art performance, in collaboration with Mercedes Montemayor Elosua
Music for Airport (Étude N°0)
Presented at CCRMA Intermedia Workshop (2025)
A performance art piece in which the piano is engine, plane, and entertainment machine all at once.
CCRMA De-Transition
Presented at CCRMA Transitions (2025)
CCRMA De-Transition is an intermedia installation and silent performance that reimagines the piano through the gestures of everyday life. Using ordinary household objects to engage the instrument, the performer replaces music with movement, touch, and hand gestures. The piano becomes both instrument and screen — a theater of hands inviting the audience to listen with their eyes as sound is no longer present.
Intrication
Presented at CCRMA Transitions (2025)
Entanglement describes a phenomenon in which two or more particles are bound beyond distance, each mirroring the other’s change, as if connected by an invisible thread.
Entre Deux Voix
Performed at Sonic Rodeo in Marfa TX (2025)
Using a live microphone, computer, and speakers, the piece captures and reinjects sound into the space through controlled feedback loops. Fragments of the performer’s voice multiply, distort, and collide until they become an internal chorus. Each iteration of the piece is unique, shaped by the architecture of the room, the resonance of the voice, and the ritualistic gestures of the performance.
Langue Étrangère
Presented at ICMC, NYCEMF, Audio Mostly, and ICAD (2025)
This evocative electronic sound poetry piece explores the alienation of living between languages -- live electronics and video installation immerse the listener in a liminal space between communication and incomprehension. Processed voice samples and glitch aesthetics highlight the tension between meaning and loss, between words and their sonic residues.
Mulholland Revisited
Presented at NIME (2025)
This project explores the intersection of real-time algorithmic sound generation and live piano performance through ChucK and MIDI-based interaction. Inspired by the interplay between dream and reality in David Lynch’s "Mulholland Drive" (2001), the piece utilizes a series of ChucK scripts that dynamically respond to the pianist’s input, transforming the piano into a multidimensional, interactive system.
Of Sand and Sound
Presented at CCRMA Open House (2025)
“Of Sand and Sound” is an immersive sound installation where elemental matter becomes music and light. Glowing tubes of sand and water pulse in darkness, while a soundscape of melting ice and humming appliances reimagines overlooked materials as organic instruments. Both light and sound emerge from substances in constant flux, repeating their course while continually diverging in trajectory. Developed in collaboration with Koh Terai from the Stanford Design School.
Jeux D’eau I & II
Presented at CCRMA Bing Concert & Open House (2025)
Jeux D’eau is a series of works that blend live music with light-based performance, created in collaboration with designer Koh Terai. As the music unfolds, strands of light trace choreographic patterns, responding organically to the ebb and flow of sound. This series imagines a meeting between two intangible forces -- light and sound -- that swirl, clash, and converge in a fleeting dialogue, creating a dance without bodies, a duet without form.
Ritus
Performed by the Stanford Laptop Orchestra (2025)
Developed in collaboration with Nick Shaheed and Ben Hoang, this series of pieces explores the ritualistic potential of feedback through vocal and bodily performance.
A Playful Mimicry
“A Playful Mimicry” is an audiovisual performance developed around the concepts of the digital double and audiovisual representation. The composer composes by directing herself directing the composer/actor -- a recursive gesture that creates a mise en abyme, both visual and conceptual. This disrupts linear space-time, generating concentric circles of narrative that emerge through concatenation.
The Stanford Prism Experiment
Presented at CCRMA Winter Concert and Bing Concert (2025)
Developed in collaboration with Walker Smith, this show consists of a series of pieces blending theater, music, and live performance. Exploring systems of knowledge such as religion, science, law, and artificial intelligence, it questions how we construct understanding, and how we communicate — or fail to communicate — our conclusions.
Playtime
Presented at the CCRMA Open House (2025)
Developed in collaboration with Ben Hoang, Playtime is a multimedia performance that questions what lies behind the mirror, both literally and metaphorically. Drawing inspiration from the dichotomy between work and what lies behind work, the piece examines the structures, performances, and labor that underpin our daily realities. Through a playful yet critical lens, the mirror becomes a stage blurring the boundaries between productivity and performance.
Algorithme
“Algorithme” is a live coding performance in which sounds, designed in ChucK, directly shape visuals generated in TouchDesigner. Using ChAI, the AI development component of ChucK, the piece unfolds through the gradual layering of musical and visual elements.
This piece explores the question of the origins through instruments, voices, and electronics. Inspired by research in philosophy and physics conducted under the supervision of physicist Brian Greene, the piece is divided in three movements depicting the origin of the universe, the origin of life, and the origin of art.