Born in 1979 in Campo Grande, Brazil, she is a composer, improviser, and art researcher whose practice spans instrumental,  orchestral, vocal, chamber, and interactive electronic music. Her  work seeks the essential core of musical experience. Her compositional approach conceives the musical score as a living web, open  to internal and external interactions. Anchored in embodied knowledge, her music creates conditions for sound to emerge as  an architecture of movable forms. It breathes, remaining open  to the numinous and inviting performers into a deep listening  journey. A playful experience of reality, an experimentation of  the subtle within matter throughout music. Here, the symbolic  serves as a key to access the spiritual.

Her notable works include Mobile (2012), which reinvents  the piano’s sonic possibilities through a poetics of mutation and  transcendence: “The listener experiences an internal transformation moving towards a multidimensional expansion: an exit  towards the cosmos” (Pascale Criton). In Symphonia Botanica,  the orchestra becomes a metaphor for a polyphonic listening  of the world.

Her interdisciplinary cooperations include the art film Before  the Volcanoes Sing with visual artist Clarissa Tossin and archaeologist Jared Katz, featuring 3D-printed pre-Columbian instruments, and also Constella(c)tions (2019) with Frédéric Bevilacqua  (IRCAM – STARTS program), an interactive musical experience  where audiences shape the sonic environment through their connected devices and collective bodily participation and relational  dynamics.

As a pianist, the piano has always been her laboratory and metaphor. She has performed in duo with Luca Piovesan (Rai(z)e),  creating music that integrates field recordings, expanded accordion, prepared piano, and objects. She has also recorded several  albums in duo with double bassist Celio Barros, bridging composed music and free jazz aesthetics.

Fellow at Harvard University’s Radcliffe Institute for Advanced  Study (2017–18) in music composition and UNESCO-Aschberg  fellow (2003), her projects have been supported by institutions  including Siemens Foundation, IRCAM, FAPESP, Venice Biennale, Camargo Foundation, Diaphoniques, Impuls Neue Musik,  Institut Français, EMPAC, Villa Sträuli, Royaumont Abbey, European Commission, STARTS, CAPES, and the ministries of culture of Brazil, France, and Norway.

She has cooperated extensively with ensembles, orchestras, and  artists across the Americas and Europe, including L’Itinéraire,  Soundinitiative, 2e2M, Lovemusic, Trio Abstrakt, Talea Ensemble, Accroche Note, Multilatéral, International Contemporary  Ensemble (ICE), Abstraï, Percorso Ensemble, Quarteto Prometeo, Zaide Quartet, Promenade Sauvage, Der/Gelbe/Klang,  Chœur en Scène, Vertixe Sonora, TaG Neue Musik, Linea, Duo  Xamp, PHACE, Zafraan, Goiás Philharmonic Orchestra, São  Paulo Municipal Symphony, Croatian Radio and Television Symphony, Inhotim Orchestra, and University of São Paulo Chamber  Orchestra.

Currently she is art researcher at the Royal Conservatoire of Brussels (Erasmus University College), professor at Francis Poulenc  Conservatoire in Paris, and artistic codirector of Soundinitiative  ensemble.

Selected works: Evangelho segundo Jece Valadão, music for  a documentary by Joel Pizzini and Marco Vale (2001), O Cru e  o Cozido for fixed sounds on support (2002), Paulo José, um autorretrato, music for a documentary by Joel Pizzini (2002), Prologue  for fixed sounds on support (2002–3), Life in Anthill, music for  a fiction film by Maurício Osaki (2003), Paris qui dort / Entr’acte,  music for René Clair’s silent films (2003), Exílio. Amor; tangente  for harp (2004), Dormente, music for an experimental film by Joel  Pizzini (2005), Memória sem visão, music for a documentary by  Marco Vale (2005), Liberdade, Liberdade, music for a documentary by Maurício Osaki and Miriam Ou (2006), Caminhos da  memória, music for a documentary by Ana Lúcia Ferraz, Andréa  Barboza and Francirosy Ferreira (2007), Memórias de uma mulher  serrilhada, music for a fiction film by Eduardo Kishimoto (2012),  Mobile for prepared piano (2012), Springtime, music for a fiction  film by Maurício Osaki (2012), Vento noroeste for violin, cello and  bass clarinet (2012), Minimal Songs for voice and piano (2012), Ser  Voz for four voices and web audio electronic device (2012), My  Father’s Truck, music for a fiction film by Maurício Osaki (2013),  Ball for violin, viola, cello and piano (2014), Chambre double for  double bass and electronics (2015), Loco reloj que canta muertas  horas antigas for guitar and accordion (2015), Riofor tenor, trumpet, clarinet, double bass and percussion (2015), Primavera for  soprano, flute, clarinet, violin, cello and piano (2015), Migrations for cello (2016–18), Mobile II for prepared piano (2016), Lorca  Fragments for flute, clarinet, viola, cello and harp (2016), Play  and theory of the duende for flute, violin, cello and harp (2016),  Calando for string quartet (2016), Canciones Populares Españolas  d’après Federico Garcia Lorca for voice, flute, clarinet, viola, cello  and harp (2016), After Spring for six percussionists and orchestra (2016), Crime(s) for violin and electronics (2017), Nina de  los peines for children’s choir, flute, clarinet, viola, cello and harp  (2017), Crime(s) for violin and electronics (concert-installation  version, 2017), In my volcano grows the grass for prepared piano  (2017–18), Herbarium for piano, double bass, percussion and electronics (2017–18), Orange for double bass, cello and electronics  (2018), Génocide, music for an experimental film by Liliane Muti  (2018), The grand Can(y)on for 19 instruments and electronics (2018), Instant-ci, music for a documentary by Liliane Muti  and Daniel Zarvos (2019), Phare for lever harp (26, 34, 36 or 38  strings) (2020), Path for six percussionists, gamelan ensemble and  four sixxen (2020), Lighter than air 2 for string quartet and electronics controlled by dancer(s) (2020), Lighter than air for string  quartet (2020), Voyelles sans ailes for children’s choir and electronics (2020), Chansons autodatées for choir (2020), Sueño, Rêve,  Dream, music for an experimental film by Lorena Faccio (2020),  Snow Soul for prepared piano (2021–22), Tecelagem pour piano  préparé for prepared piano (2021–22), Hommage to P.O. for two  microtonal accordions (2021), After Spring (adaptation), version  for four percussionists and orchestra (2021), Premier Cercle for harp and accordion (2022), Deuxième Cercle for harp and B-flat  clarinet (2022), Troisième Cercle for harp and violin (2022), Quatrième Cercle for two harps with 24 strings or more (2022), Cinquième Cercle for harp and trombone (2022), Ballades for six percussionists in a natural environment (2022), The Word: invocation  for a language that revives for mezzo-soprano, flute, bass clarinet,  violin, viola, cello and electric guitar, to words by Michelina  Verunschk (2022), Mojo’q che b’ixan ri ixkanulab’ / Antes de que los  Volcanes Canten / Before the Volcanoes Sing, music for a documentary by Clarissa Tossin (2022), Intimate Distances, music for a film  by Phillip Warnell (2022), Lavandula for piano (2023), Trio for  violin, cello and piano (2023), Lavandula angustifolia for clarinet,  cello and harp (2023), Full Fathom five for soprano, two mezzosopranos, alto, cello, double bass, theorbo and percussion (2023),  The island is full of noises for soprano, mezzo-soprano, bass flute,  traverso and three percussion (2023), The island is full of noises 2  for soprano, mezzo-soprano, bass flute, traverso and three percussion (2023), Where the bee sucksfor soprano, two mezzo-sopranos, alto, cello, double bass, theorbo and percussion (2023), Each  absent breath, sound installation for the Wavefield Synthesis spatialisation system (with Clarissa Tossin, 2023), Constella(c)tions  for 4–8 performers and electronics (2019), Playground & Entrelacs  for string quartet and electronics controlled by dancer(s) (2023),  O mundo que passa for fixed media (2023).