I aim to present instrumental music in a contemporary way through video. It's important because music allows us to momentarily let go of our rational view of the world, to step away from the hustle and bustle of everyday life. It gives us access to a different awareness that can bring beauty, poetry, comfort, and gentleness.

The challenge - one I've been tackling for 10 years now - is to create a visual language that doesn't simply offer a flat film with music. Instead, I aim to complement the music, to enhance it in subtle ways. The images respond to the subtlety of the composition and provide visual support for listening. It helps the listener find a place for their own interpretation and experience their own emotions.

First, the score is analysed musically using available literature, discussions with musicologists, and personal analysis. Alban Berg, who was Schönberg's assistant at the time, made an analysis of Pelleas und Melisande, which is one Then comes the development phase: I have to find the visual tone that fits the entire performance, forming the visual signature of the whole.

Then, bit by bit, I must find the right visual response to the music, the right sequences, the repetitions, the evolution of a language. I have to make the right artistic choices and prepare a very precise edit so that I can mix it live. This is the part that takes the longest, but also gives the project its soul and rhythm.

Music is rhythm. Live mixing is very important: during a concert, I follow the musicians or the conductor with a touchpad as an instrument. How the images move, how fast, how 'quiet', how they move together or not with the music, how the images can emphasise a musical moment or flow 'against the music'... all of this adds a deeper layer to the music.

During the concert, I control the projection live and use my touchpad as an instrument, along with the conductor, who remains completely free to play according to his inspiration of the day.