Research Interest
My creative research focuses on how texture, timbre, and gesture shape musical form and perception. I explore how sound materials evolve over time and how these transformations create structure and expressive meaning.
Building on Lasse Thoresen’s aural sonology—an analytical system that interprets musical form through perceptual parameters such as texture, timbre, and gesture—I extend this approach to investigate how sound interacts with movement, visuals, and material/craft within interdisciplinary works. This perspective allows me to examine how acoustic and electroacoustic sound connects with visual and physical elements in a cohesive creative process.
In recent years, I have focused on multidisciplinary projects in which technology supports a unified artistic outcome. Rather than treating electronics as separate, I integrate it into the compositional process so that sound, movement, visuals, and material/craft develop together within a single expressive framework.
My installation Sabzeh (2024) exemplifies this approach. Inspired by Omid Fallahazad’s short story of the same name, the project takes two parallel processes—hand-woven carpet making and the growth of sprouts—as conceptual and structural foundations. These actions shaped every layer of the work: soundscape, video, dance movement, and fiber art. The installation featured a large wooden and thread structure resembling a loom, onto which we projected recorded dance movements so the woven patterns appeared to come alive. The 11-minute surround soundscape was built from recordings of weaving and sprouting, blended with instruments and a vocal improvisation on an Iranian. Live-growing sabzeh in the gallery completed the connection between natural and human-made creation. The work honors the ten Bahá’í women executed in Shiraz, Iran, forty years ago, and reflects on resilience, unity, and renewal through shared creative process.
In Sepideh (2023) for piano, audio playback, and video, I explored visual and sonic symbolism through the use of ribbons—objects that link color, identity, and motion. The ribbons generate sound inside the piano, form the basis of the processed audio layer, and appear as central visual motifs. The work, inspired by the Woman, Life, Freedom movement in Iran, examines collective strength through material, sound, and gesture.
Silent (2022), a multimedia composition for clarinet, cello, piano, narration, audio playback, dance, and visuals, was commissioned by the Charsu Quartet. The poetry of Forough Farokhzad’s The Wind-Up Doll served as the conceptual foundation for the work. The creative use of words and rhythm in the poem inspired the soundscape, dance movement, and visual design. The piece portrays the inner voice of an oppressed woman striving toward change within a restrictive social system.
My creative practice serves as a medium to integrate sound, movement, visual elements, and material/craft with cultural and social narratives. In my process, I draw on Lasse Thoresen’s aural sonology to structure each work, using perceptual parameters such as texture, timbre, and gesture to define and organize the elements that are integrated across different media. This approach allows me to create cohesive, interdisciplinary works in which all components—acoustic, electroacoustic, visual, performative, and material—develop together. My ongoing research continues to explore how this methodology can produce works that are sonically innovative, culturally grounded, and socially engaged, fostering reflection on identity, memory, and resilience.