"When I began my research into the contemporary sound of the harp, the first thing I did was to do the first think I wouldn't do. From a harp, I took its composition and therefore: the gut of the strings, the metal of the mechanism and the wood of the structure. I sampled the sounds, searching for the essence of the raw material. The sounds obtained are mostly noises, which you are not used to hearing from a harp, yet it is always the harp that produced them. From the detail of a harp comes the vision of a new harp, capable of entering a new modern musical environment, which radically detaches it from its historical origins."