Evil Eye (2023)
An Installation

Evil Eye is a four-channel soundscape and installation inspired by the middle eastern superstition of the same name. The intent was to transform the room into a healing space and ward away negativity, as well as to reclaim a protective symbol from a culture that has often rejected me for my queerness.

Evil Eye is a micro-commission by Design Action and Park Avenue Armory as a part of Symposium: Sound & Color.

To Remember A Friend (2021)
A Virtual Reality Experience

To Remember A Friend is a Virtual Reality project developed by Kathleen Fox about the fragility of memories and nature of truth. The composition and sound design explored the futuristic setting, using drones, heartbeats, and static to build the haunting memories that reveal conflicting clues as to the nature of the murder of Jane Watson.

The first episode of To Remember a Friend premiered in May 2021 as a part of the CalArts Beyond the Stage Festival and CalArts Expo.

CalArts Drag Ball (2019)
An Annual Queer Artist Celebration

Drag Ball is a yearly collaboration between students of the CalArts School of Theater and CalArts’ Queer Artist Collective, seeking to create an interactive space for the queer community to explore and perform gender. This years was themed around hit TV show the Magic School Bus, and featured two hosts, two DJs (one with an entirely vinyl set), and over thirty drag performers. I served as sound designer alongside Colin Yeo, as well as mixer for the drag show. Drag Ball took place in the CalArts Main Gallery on May 4, 2019.

Project Neverland (2018)
An Augmented Reality Performance

Project Neverland is an exploration of the applications of augmented reality in the context of live performance created by the Entertainment Technology Center's Team TheatAR. It is a stage adaptation of the story of Peter Pan that features a fully-animated character performing alongside a human actor. I was a sound designer on this project, creating sound effects to match the movements and “voice” of the animated Tinkerbell, in order to both bring her to life and establish her strong personality.

STUDIO 26 (2018)
A CalArts Halloween Party

STUDIO 26 was a piece of immersive theatre disguised as a Halloween party that took place across the CalArts campus on October 26, 2018. I co-sound designed the MOD Lobby alongside Anna Libbie Grossman. The MOD Lobby was a four minute long exposition stop between ticketing and the party, where hidden speakers around the room caused a video to “come to life.” I created two piano tracks-a natural sounding one, and a more haunted one, in order to create the illusion of a ghost haunting the space.

Project Frankenstein (2018)
An Interactive VR Experience

Project Frankenstein is a hybrid mixed-media and virtual reality experience created by a team within Carnegie Mellon University's Entertainment Technology Center. This project was a retelling of Mary Shelley's story of the same name and was created for The Frankenstein Complex, the Spring 2018 Posner Intern exhibition celebrating the story's bicentennial. It was developed as a physical installation, using an Oculus Touch for the VR component. I was the composer on this project, and created interactive sound in a 360 degree space that matched the narrative and experience of being Frankenstein's monster and being ostracized from society. The music was created to sound artificial, harsh, and disorienting, much like the life and mindset of Frankenstein's monster. Project Frankenstein is on display in the Posner Center from May 8-November 30. 

Traffic Cop (2017)
A video game by Blank Studios

Traffic Cop is a short indie game created by Blank Studios for the 2017 Global Game Jam. Inspired by the theme "waves," we made a zany game about a traffic cop required to wave along traffic without harming innocent bystanders or causing cars to crash. As sound designer of Blank Studios, I created or found all sounds used in the game, including title screen music, level music, and sound effects. 

Temple (2016)
Design Documentation

Temple was built by Seth Glickman, Madeline Kim, and myself as a means of giving the power of performance to the audience. We wanted to turn music making into both a surreal, religious experience, and into a choice--the audience must choose whether or not to create the music, when to hit which notes, and whether to coordinate with those around them. Temple was constructed in March 2016 using Max MSP 7, a Makey Makey, a UV ink pen, and many, many rolls of conductive tape.