In my work, I take instruments, devices or other objects and ask myself: ‘What happens if I use this thing the wrong way? What kind of sounds can I make with it? Can I make music with it?’

At the moment, for example, I am creating sounds using feedback loops on a mixing desk. “What does that have to do with studying jazz?” I have always seen my studies more as an invitation to experiment independently, surrounded by lots of fascinating people and with a vast pool of expertise to draw on.

At the moment, I have been thinking about how one can strive to create works and projects with broader relevance, despite having been shaped by an elite art school environment, without denying one’s own background. How can I create more authentic art and make it more accessible to people?

I definitely see myself as part of a wider scene of Zurich-based musicians and performers working in the experimental field, particularly in the realm of improvised music. In my role as an organiser, however, I feel it is very important to shake up this ‘scene’ and continually break down any barriers between sub-groups.

I am certainly inspired by all the artists I am lucky enough to work with. I also think it is important to constantly expose myself to new influences. I listen, watch and read a lot, and I am always discussing these things with others.

In my day-to-day life, I rely on a wide variety of spaces. Rehearsal rooms for practising and experimenting with musical projects. Workspaces for programming or video editing, recording studios for recording, and workshops for craft work. To access such spaces, I rely on a broad network.

In many forms: White Pulse, for example, is a collective in which all three members share creative and organisational responsibility. In other projects, the group works together to bring an individual’s idea to life. I like it when people work together repeatedly over several years, allowing a shared style or way of working to develop.

As I mentioned earlier, my network plays a major role in my day-to-day life. It enables me to access contacts among artists and technicians, as well as instruments, venues, transport options and so on. Generally speaking, people in the scene help each other out.

I am content simply to be where I am.

We should at least try to assess success and achievement in the arts outside a capitalist value system. Reaching people and enabling them to experience the world differently is a form of success.

I miss having accessible spaces in Zurich where people can get things off the ground easily and, ideally, free of charge – where something can take shape. Spaces that nobody claims for their own personal use. The lack of such spaces takes the wind out of the sails of many projects by young artists or those outside the institutional sphere.

Recorders and bagpipes. <3

If I had not studied jazz? – There are a few things I would not know or be able to do, but I would be better at a few others. For me, producing some form of artistic output is essential.

Do these questions help shape your narrative?