My music embodies two distinct methods: one utilizes the 'materiality' of the non-musical sources such as concepts, words, or ideas I am working with, while the other delves into a deeply personal interpretation, detached from scientific, rational rigor—a sort of 'naïve' approach that explores the subjective essence of the elements I am using. Both methods converge to shape the overall structure and narrative of the piece.

As an example, in my piece for solo accordion, 'estamos bien, pero tiemblo,' I draw inspiration from a poem by the Argentine poet Juan L. Ortiz, who lived in the region where I grew up. Employing the two-fold approach above mentioned, I translate the 'materiality' of words—such as letter count, specific letters used, and line structure—with musical elements like pitch, duration, and structure in certain sections of the piece. Simultaneously, I delve into my personal connection with the poem and the place of its origin, my hometown, to create other sections of the piece with a personal and evocative musical expression.