Composer, cellist and audiovisual artist.
2025 · audiovisual
Experimental video blending handcrafted stop-motion with AI-generated video layers.
A short experimental video that visually represents the uncontrolled growth of cells. It blends handcrafted stop-motion material, made with paper cutouts and textures, with AI-generated video layers. The result is a hybrid aesthetic that explores fragility, transformation, and the tension between organic movement and digital manipulation.
Tools: Stop-motion · AI video
2026 · interactive
Interactive web piece using the phone's gyroscope and spatial audio.
Open the piece on your phone, allow access to the device's motion sensors and move it to explore the colour rooms. Best with headphones: the sound changes with the phone's orientation.
Tools: Web Audio · Gyroscope API
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2020 · audiovisual
A playful audiovisual piece made with SuperCollider.
A playful audiovisual piece where abstract visuals and out-of-phase sounds, created with SuperCollider, transport the viewer into the surreal world inside a lemon.
Tools: SuperCollider
2024 · audiovisual
A compilation of stop-motion animations using everyday objects, with music I played myself: accordion, guitar, Ney flute and clarinet.
Tools: Stop-motion · Accordion · Guitar · Ney flute · Clarinet
2021 · audiovisual
The impossible love between an octopus and a bird, blending animation and live flute to bridge real and digital worlds.
Submerged is a piece that narrates the impossible love story of two creatures from different mediums, an octopus and a bird. The bird (flute player) and the octopus (animation) react to each other. The bird enchants the Octopus with its playing and this one, obsessed and fascinated by the bird, tries to attract and captivate the bird by bringing it into its own medium (the water). Eventually this happens when the recorded alto flute and the acoustic flute sing together and the flute player walks to the screen. Now the bird is enchanted by the octopus and drowned and submerged in its new medium. Submerge explores the use of space and animation to transmit the relation between the real medium and the digital medium
Tools: Animation · Live flute
2019 · audiovisual
A stop-motion video featuring violin and cello loops that grow and evolve. The visuals and music interact, blending technology and live performance.
Cancer for video, violin and cello. The video was made using stop motion drawings . After editing the video with Final Cut, I made a patch with Max/MSP/Jitter. This program offers a full integration of visual programming language that can be used to change, affect and create audio or video. In this case I used it to change and edit the video. At the same time the video is showing, violin and cello play different musical materials. Through out a looper, created in Max by René Uijlenhoet, violin and cello are recorded and the output sound keeps growing and duplicating the musical material over again.
Tools: Stop-motion · Violin · Cello · Loops
An audiovisual narration of the nightmare I experienced due to persistent sound pollution, made with electronics, cello and draw-and-erase animation.
To create How to Break a Person, I used a combination of hand-drawn animation and electronic sound design. The visual aspect was achieved through the draw-and-erase animation technique, where each frame leaves a trace of the previous one, creating a sense of continuity and fragmentation. The sounds were generated using cello recordings and very low-frequency waves, designed in SuperCollider to reflect the sonic intensity of the visual narrative. The cello, often manipulated through digital effects, acts as the protagonist's voice, while the electronic sounds represent the overwhelming noise that affects them. The animation was built frame by frame, reflecting a meticulous process meant to convey a sense of mental unraveling. The piece explores the theme of emotional breakdown, specifically how external circumstances and internal struggles can slowly dismantle a person's sense of identity. How to Break a Person seeks to represent the overwhelming sensation of losing control, both mentally and emotionally, after being exposed to days of a deep, penetrating sound. The intention was to create an immersive experience, where the viewer is drawn into the character's world, feeling the weight of their struggle as sound and image combine to evoke a deep sense of unease and vulnerability.
Tools: Electronics · Cello · Draw-and-erase animation
Electronic piece using a Synton 3000 system modular synthesizer and stop-motion animation.
Collage is an electronic piece created using a Synton 3000 system modular synthesizer. The inspiration for this piece came from my research into the works of Norman McLaren, an animator from the 1930s, 1940s, and 1950s. McLaren created his own music by drawing, etching, and photographing patterns directly onto the soundtrack area of film. One of his films, Dots (1940), features a rough, percussive synthesizer-like effect that I sought to emulate using the Synton 3000. The composition process for Collage was based on the concept of collage-making. I worked with small, unpolished textural elements generated by the synthesizer, arranging and re-arranging these fragments in various ways to construct the piece. To further develop the material, I used different patches of MAX/MSP and even employed a MIDI keyboard, assigning small sound fragments to each key in order to improvise more rhythmic content. The result is a musical collage, where sound elements are layered and transformed to create a dynamic and evolving composition.
Tools: Modular synthesizer · Stop-motion
An animated video using paper cutouts and electronic sounds, made with a touch-sensitive synthesizer that reacts dynamically to the animation.
Birds (Pájaros) is an animated video created using paper cutouts and electronic sounds. I took the pictures using the CamScanner app, employing a stop-motion technique. The piece was created in a single day, as that was the time I had with the synthesizer. The sounds were initially improvised, and the visuals were added afterward. The electronic sounds were produced with a touch-sensitive synthesizer that reacts dynamically to the animation, creating an interplay between the visuals and audio.
Tools: Paper cutout animation · Touch-sensitive synthesizer
A film about change and how we adapt to it, using archival footage of Rotterdam, in collaboration with Willem de Kooning Academy, Codarts and Stadsarchief Rotterdam.
A film by Suzanne van der Kaaij and Elena Garcia Verduras, with footage from the archive of Rotterdam. The same but different is a piece about change, and how, at some point, we get used to it. To illustrate this concept the film creates points of recognition, visualising change in different levels, with an ending that brings back the cycle. This project is a collaboration between Willem de Kooning Academy Rotterdam, Codarts Rotterdam and Stadsarchief Rotterdam.
Tools: Archival footage
2018 · audiovisual
A time-lapse video with electronic music of the rooftops near Marconiplein (Rotterdam), where I lived during my studies, capturing the rhythm of daily life.
Phases is a time-lapse video accompanied by electronic music, capturing the rooftops near Marconiplein (Rotterdam), where I used to live during my studies, reflecting the rhythm of a typical day. While the camera was recording, I worked on the electronic music, challenging myself to finish it in less than 24 hours. The electronics consist of recordings of various instruments pushed to their limits through electronic manipulation (cello, flute, harp recordings, piano, and pan flute).
Tools: Time-lapse · Electronic music
2022 · audiovisual
Noise and water seeped in through the walls, and so did thoughts. A compendium of synthesiser sounds I manipulated during my studies.
“Noise and water seeped and leaked in through the walls. And so do thoughts that creep into your head.”This piece is a compendium of synthesizer sounds I manipulated during my studies, including the Evolver, Synthon 3000, and Behringer Neutron and Crave. It also incorporates voice snippets from Marko’s interview, which I used to structure the composition. The phrases chosen focus on the self-criticism and thoughts that arise during the completion of a master’s degree or any significant project. Like water and sound, these thoughts are hard to stop, and the piece moves from a multitude of sounds to the isolation of just one.
Tools: Synthesisers
Composition by Saskia Venegas Aernouts (2016). Video animation by Elena G. Verduras (2022).
Video animation (2022) for the composition "Habitat of Dreams" by Saskia Venegas Aernouts (2016). It was created by combining water, ink and paint, with light projected over them. By making that light vibrate to the rhythm of the music, its reflections on the water seem to dance along with the composition, creating an image in constant motion that responds to the sound.
Tools: Animation