His work methodology focuses mainly on the capture, extraction, editing and storage of audio samples from different sources:
records on the street
dialogues extracts
audiovisual edits and converts of radio signals and many other sources.

Transforms, relentlessly, curtails, beheads and sews sound works from different backgrounds and authors, providing the glue that comes from analog-digital instruments and audio processors and resulting in a “sound narration” split into parts.

His sound works do not drop below 20 minutes for just such narrative, where there is a development from defined introduction to epilogue.

Detests the “digital finishing” of sound with a computer. For that reason dirty, gnawing and saturated sounds prevail (but without spoiling the record), thus achieving kind of a sound archeology.

His creative concepts pursues mysticism, the occult, time,
religions, the process that leads to contemplation,
the silence, the pause, the suspension, death and upstarts.

No musician describes himself
according to their own words.

“What I do not see myself as music, I do not feel musical, I not position myself musically.
I DO NOT THINK musically, I’m more close to the investigation,
to the pamphleteer, the readymade and the situation.
Even so shamanic
the Medium
Channeling.
No rhythm and no melody that dominates the whole picture.
Abuse of rhythm and melody is a necessary evil for those who can not handle a drift.
It’s like being in a large room without light. You need to touch the walls and artifacts that fill the room to feel welcome in the position and perspective.”