A practiceshaped bylistening, systems,and collaboration.

Three movements, one thread.

I work at the intersection of film sound, music production, and creative tooling. My practice spans three movements: cinema (sound direction, sound design, mixing for short film, TV, and feature); music (production, mix, and master for independent Brazilian artists and bands, with a focus on Palmas and the Tocantins scene); and code (Max4Live devices, generative audiovisual systems, and live instruments).

Across all three, the thread is the same: I build instruments — acoustic, digital, conceptual — to make work that is specific, situated, and accountable to a place. Currently based in Palmas, Tocantins, Brazil. Recently shipped O Compositor (Prémio Curtas 2026 nominee, Best Composition) and the EP Rinoceronte for Luzo Cairo. Author of RC Surface, an MIT-licensed Max4Live device for Ableton Live.

The path has been geographic as much as it has been technical. Before the engineering work, I spent six years (2015–2021) in the Palmas music scene as a composer, guitarist, and producer — the band Em Agosto Chove and a rotating seat in the local live circuit. From 2019 onward the studio work came in: two and a half years at Produtora Árvore Seca, recording, mixing, and running the festival floor in Palmas — co-creating the Som na Árvore live-sound festival and producing Seletiva Bem Ali, Verão Brabo, Wingfuzz Festival,Som do Formigueiro, and the Festival Bem Ali cycle. The BA in Sound at Universidade Lusófona ran from 2019 to 2025, overlapping with all of it — I lived between Brazil and Lisbon through the period, finishing the degree in pieces, and went through REANIMA's small cohort of directors and animators during the Lisbon stretches. I returned to Palmas in the middle of 2025 and have been based here since, carrying the tools and the habits of two scenes at once.

The work threads those scenes through institutions: Lusófona and REANIMA for the audiovisual, AMMP for Portuguese TV, Artpalco for the recent series work, the Madison Museum's collection for one of the fxhash pieces, and the Aldir Blanc / PAAR grant for the EP Rinoceronteproduction. None of these is a permanent home — they are passages.