The compositions of Maria W Horn (1989) implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.

Marias installation work explores the inherent memory and mythologies of specific places or geographic areas and the people that have inhabited them. In her careful work with percetualities, sound is often connected with structures of light aiming to build acoustic environments where senses interlace.

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