Sound -any kind of sound that can be aurally perceived and captured through sound recording or synthesised digitally and electronically- can become the constructive material, force and unit of a sound-based work of art. The fundamental processes of thought, imagination, perception and practice of  making this kind of sounds part of a constructed organisation -that of the whole of an artistic work- have been mainly initiated, formed and developed through the practice and aesthetics of electroacoustic music. 

Within this extremely wide aesthetical and practical realm of electroacoustic music I have been developing my creative, artistic and compositional thought, imagination and practice. The result of this development has led to a continuously evolving personal artistic language. A language that gave shape and form to a significant number of electroacoustic music compositions, exploring sound as an object and an entity and focusing on the intra and inter musical narrative potentials of the medium. A language that also has been expressed in a live-performative situation in the format of  live sound manipulation practice, forming a dialect with the languages of the co-members of the live-electronics assembles I have been part of. Finally, a language that, while maintaining the strong electroacoustic music-based craft, has attempted to overcome possible aesthetical constrains imposed by the genre, leading to the composition of  both music for contemporary dance performances and soundscapes  that coexisted with conceptual-installation art works.

I am grateful to Ludger Henning, Peggy Papatheodorou, Pantelis Paradisis and Sergio Vaccaro for the beautiful portrait pictures they have provided me with.