After hearing Lilja's incredibly atmospheric bass flute piece a year or so ago and finally playing it as part of BCMG's covid lockdown programming I immediately knew that this perspective would make a great addition to the RETRANSLATED project. 

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Work on our collaboration began in November of 2020 with a call where we discussed the project and initial ideas surrounding the Honkyoku transcriptions and how we can create an interesting collaborative process. 

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From the outset Lilja expressed an interest in creating a work that 'lives and breathes' and where each performance is subtly different. This has manifested in the final work through the structure with asks the performer to pick their own path through a series of boxes filled with gestural materials. 

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Under the fractured surface was created through back and forths between myself and Lilja. Initial sketches were recorded whilst listening to a draft tape part. These sketches were then organised and the tape part changed to create a more subtle journey. 

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Once a first draft was created and recorded the pair of us sat down to discuss how we can explore uses of the Kingma system in this work as well as providing Böhm system alternatives. It was felt that this piece would suit a range of performance contexts and so opening it up to non-Kingma players is beneficial. 

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Under the fractured surface was included in my application for the Berlin Prize for Young Artists 2021 and is currently in the final stages of preparation with the aim to record in the summer of 2021.

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