BIOGRAPHY

Growing up in a small town of Southern Ontario, Canada, my childhood was spent wandering in streams, forests and fields.  Long, cold, snowy winters meant endless days playing the piano, drawing, painting, creating and imagining.  I remember early mornings of waking up to peer through my telescope and write in a notebook, dreaming about what adventures lied beyond home and into the future.  Music and fine art were always my greatest passions alongside exploring wherever I could.  Encyclopaedias of cultures in far away worlds were an endless source of inspiration, or books of great artists from the past like Monet.  As a child, I loved songwriting, taking a recorder and notebook out during school breaks to record ideas. Despite years of music lessons, church choirs, ensembles and creating artwork, deep down, my wildest dream, from the beginning was to be a composer.  It was not until growing up that I discovered modern composers do exist, let alone, that I could be one!  My first breakthrough as a composer came the same year I began formally notating music, with the selection of my very first orchestral work Wind, for performance in the International Sound and the Land Music Festival 2014, by the Waterloo Chamber Players. As I slowly began to discover the world of contemporary music, I pursued this passion with all my heart, hungry to learn and desperate to realise a long-hidden dream. This lead me to relocate to the UK in my early twenties, where I studied composition at a conservatoire.  Here, I realised another aspect of my creative expression, the significance of my personal sense of synaesthesia (the crossing of sound to colour senses or what music ‘looks like’) in composition and painting. At this time I began painting in classical concerts live, creating unfolding representations of this un-seen, colourful world of music. Currently I am creating an ongoing series of orchestral works, Iridescent Flares, exploring synaesthesia in music, performed by orchestras including the London Symphony Orchestra (LSO Paunufnik Composers Scheme) and the WienerKammer Orchester, Vienna. Significant commissions include Intertwined for singing solo viola, performed/commissioned by Katherine Clarke as featured on Two Set Violin and Classic FM. Concerts with live painting have included Prom Praise 2026, Royal Albert Hall. I believe music is a colourful experience, in its original, God intended form - we see only a fraction of what truly exists.  I continue composing, painting and exploring, finding inspiration in the colours of creation and life wherever I can, from Canada, to the ends of the earth.