I’m a Finnish composer born and based in Helsinki. I’m currently focused on writing score based music: solo, chamber, and orchestral music. In addition I’m occasionally performing as an improviser and developing a cross-art practice. My current work is kindly supported by a 2 year grant from Kone Foundation.

My first orchestral composition Väylät was commissioned by Lahti Symphony Orchestra. Dima Slobodeniouk conducted it as part of their Sibelius festival’s Taimitarha (Nursery Garden) project. In this project, five composers at the start of their career were selected to write a 10-minute composition for orchestra. I was awarded Modern festival New York 2020 fellowship grant, which was given to one composer from 30 course attendants. In Nordic Music Days 2018 Helsinki Chamber Choir sung my composition Ruskan värjäämät lehdet. I won the shared 1st prize in the international VocalEspoo choral composition competition’s mixed choir category with Siivekkäiden loitsuaja in  2014. My publishers are Music Finland and Sulasol. My latest chamber music has been premiered by Uusinta Ensemble, Saxtronauts, accordionist Veli Kujala, and Helsinki Chamber choir.

I’m currently working on building connections internationally, and especially in Japan. For example in November 2025 I was invited by Finnish Institute in Japan to give a lecture on my music in Japanese in Tokyo. On the same event started also a tour of my composition Häikäisy as part of the program of Duo Mirai (flutist Camilla Hoitenga and kantele player Eija Kankaanranta) in Japan. As a result I spent 3 weeks in Japan networking with local new music professionals and venues.

Future projects include an accordion concerto for accordionist Veli Kujala and Lapland Chamber Orchestra conducted by John Storgårds, as well as a work for soprano Tuuli Lindeberg and string quartet commissioned by Time of Music Festival.

I studied composition 5 years in Sibelius Academy with first 3 years with Juhani Nuorvala and then 2 years with Veli-Matti Puumala. I graduated Master of Music in composition in the summer 2022 with a composition excellent grades. The same spring I was awarded a honorary grant from Pro Musica -foundation and Martin Wegeliuksen muisto -foundation. My latest work has been supported by Finnish Cultural Foundation’s Uusimaa Regional Fund, Jenny and Antti Wihuri Foundation, Arts Promotion Center Finland (Taike), and Finnish Music Foundation (MES).

Cross–art practice

From 2024 to 2026, I’m curating and creating an experimental Seikka performance series, commissioned and co-curated (in terms of poetry) by Nuoren Voiman Liitto, which blends various art forms.

In collaboration with multidisciplinary artist Priss Niinikoski, I created a sound installation, and Installaton Concert for Seikka II. The work, celebrating the 20th anniversary of Runokuu, centers on the concert harp and its lyrical resonance, contrasted by a paper speaker installation that explores the connection between sound and movement, as well as live poetry in the concert.

In September 2022 I made an experimental performance called Hän kirjoittaa (He/She writes) for Uniarts Fest with choreographer Eeva Juutinen, for which we write a collaborative text score together with Eeva in Google Docs, which is then at a rehearsal period interpreted as dance and music: in this project we are aiming to look at temporality in the perspective of each other’s art forms, and find ways and methods of communication between composer and a choreographer. In years 2014-2018 I curated 5 times Salakuuntelu-klubi (Eavesdropping Club) in Jyväskylä and Helsinki which created a happening-like performance between different art forms, and has encompassed music, poetry, fine arts, dance.

Improviser

As an instrumentalist my background is in jazz guitar, and particularly in free improvisation, which is an integral part of my artistic practice. In impro performaces aside from electric guitar I’ve played many instruments: fretless guitar, oud, bass recorder, percussions, voice, overtone singing and keyboards. As an improviser I always strive for a state of straight action, non-thinking, a continuous feeling of being on the edge. Lately I’ve been experimenting playing electric guitar with a drum stick: the gestures of bowing, bouncing and sliding intertwine in a unique way in this technique.