Drawing from an archive of my voice-driven media works, this installation explores solo and collaborative performance—proposing the monologue and monodrama as sites of multi-voiced selves: many-layered, resonant, and ever-in-flux.
Working with layered vocal improvisation, composed structures, video collage, and poetic texts, Fragments & Invocations (re)imagines the performer in solo and collaborative spaces as a polyphonic assemblage: an intertextual constellation of selfhood, tech-techne, and relational mythopoetic narrative.

My practice traverses the expressive terrains of structured and improvisational vocal composition, Western classical vocal technique, and Sprechstimme / extended voice work—pathways forged, in part, by Cathy Berberian’s pioneering vision. Her notion of a ‘New Vocality,’ one that embraces the entire spectrum of human vocal sound and resists the primacy of language (Karantonis and Verstraete, 2014: 4) is a generative force in my work.

Situated at the crossroads of vocal experimentation, media hybridity, and feminist (re)imaginings of vocalic agency, Fragments & Invocations (re)casts performance as (dis)embodied, staged in the digital ether, and echoing Berberian’s ‘spirit of inventiveness’ (Placanica 2014: 58).

Karantonis, Pamela and Pieter Verstraete. 2014. ‘Introduction/Overture’ in Cathy Berberian: Pioneer of Contemporary Vocality. Edited by Pamela Karantonis, Francesca Placanica, et al., 3-18. Farnham: Ashgate.

Placanica, Francesca. 2014. ‘“La nuova vocalità nell’opera contemporanea”’ (1966): ‘Cathy Berberian’s Legacy’ in Cathy Berberian: Pioneer of Contemporary Vocality. Edited by Pamela Karantonis, Francesca Placanica, et al., 51-66. Farnham: Ashgate.