Born in 1986, he strives to relate his works to the surrounding world and to history, which inevitably exerts a pressure on the present. He is fascinated with plainchant as a form and a listening space, a source of spiritual light and a clearing between voice and silence. He seeks for truth rather than novelty in music. His interests focus on what is fragile, ever-changing, and hard to grasp – the silences between phrases, the rhythm of breathing, faraway voices… Rather than trying to explain the world, his compositions create a space for listening to the world.

While not shunning experimentation, crossing genre and other boundaries, he uses these elements as tools, not as goals in themselves. He continues to learn how to listen and how to compose so that the most important elements, usually only hinted at, are not obscured or drowned out.

Selected works: WAM-iationen for accordion (2015), ἀπόπτωσις (apoptōsis) for vocal sextet (2015), toutur thrœu (Ritual of Hearing)for cello and ensemble (2016), Symphonic Piece for philharmonic (2017), monachomachia, music theatre (2017), VOICES/VOTES, music performance in the form of a park game for actors and musicians (2018), De Trinitate for cello, vocal and instrumental ensembles, with electronics (2019), new rosary sonatas for violin and basso continuo (2020–22), intavolatura for viola and accordion (2020), Another Nostalgia, a scene for actor, group of youths and Pierrot ensemble (2021), lemelki, music theatre after Stanisław Lem (2021), in latitudinemfor string trio and 17 string instruments (2022), a blue line for vocal ensemble (2022), Méditation faite sur la mort future de Maÿerin, laquelle se joüe (lentement) avec Discretion for meantone organ with split keys (2022), bright… holy… mad… for symphony orchestra (2022),The Little One, music theatre (2023), ’e mimki ’utew for vocal quartet (2024), Pascha crucifixionis for choir, orchestra, audio and video layers (2024–25).