Everything started with some academic exercises in style, but I wanted to tear them apart because I felt they didn’t represent me. While sheet music can be torn, audio cannot, so I decided to stretch it.

Carried away, I started recording brief moments from concerts, choir rehearsals, and the sounds of nature and cities. I would return home and stretch them. It felt as though I were modifying reality to my liking, or seeing it from another perspective, knowing I could transform the essence of things.

I was creating music that arises empirically and breaks free from predefined academic and structural constraints. I composed what I felt should come next; each stretch has its own nature: it needs to last longer, suddenly cease, be repeated, transposed, layered, have fewer decibels… without any grid.

By stretching, I aimed to create a space-time dimension, like a Picassian distortion of a figure. I crafted a caricature, shaping a different listening experience: stretching extends moments in a piece that we wish lasted longer, slowing them down, almost freezing them, enabling us to savor them fully. My stretched version doesn’t represent a new piece; instead, it seeks to convey the human perception of the original.

“It took me four years to paint like Raffaello, but a lifetime to paint like a child.” —Pablo Picasso