I make work that asks how the world organizes itself.

I was born in Hungary, where music first taught me that patterns can carry meaning beyond words. Growing up in a culture shaped by folk traditions, literature, and a remarkable history of artistic and scientific thought, I became fascinated by the relationships that connect seemingly distant ideas. That curiosity has remained the center of my work ever since.

I began as a musician, but the questions that emerged through performance gradually reached beyond music itself. Today my practice spans performance, writing, visual art, design, and artistic research. Rather than thinking of these as separate disciplines, I see them as different ways of exploring the same underlying structures.

I studied at Bard College and The Juilliard School, and I am currently pursuing a Doctor of Musical Arts degree at the University of Maryland. As a contemporary bassoonist, I have performed internationally as a soloist and chamber musician at venues and festivals including MoMA, the Budapest Spring Festival, White Nights in St. Petersburg, Lorin Maazel’s Castleton Festival, the Prototype Festival, and the Bard Music Festival. I am a member of Contemporaneous, one of today’s leading ensembles devoted to new music, and have collaborated with institutions including the Hungarian Academy of Sciences, The Clark Art Institute, Columbia University, New York University, the Liszt Institute, and the John Cage Trust.

For me, performance is not only an act of interpretation but a way of thinking. A concert can function as an experiment, a conversation, or even a temporary world in which ideas become tangible through sound, movement, attention, and shared experience. Whether performing a centuries-old work or creating a new one, I am interested in moments when perception shifts and familiar things become newly visible.

That perspective has developed into an ongoing body of artistic research. My current work explores what I call the Grammar of Organization: a search for recurring principles that appear across natural systems, human thought, and artistic practice. Rather than asking what belongs to music, biology, physics, or philosophy individually, I ask what they reveal when considered together.

I believe artistic practice can do more than express ideas. It can produce them. It can uncover relationships that are difficult to recognize through analysis alone, allowing intuition and embodied experience to participate in the creation of knowledge.

Every project I undertake, whether a performance, an essay, a drawing, an object, or a conversation, is part of the same investigation. I am interested in the structures that shape our world, the patterns that connect scales of experience, and the possibility that art can help us perceive them with greater clarity.

Music

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