Concerts
In concert, Tejaswinee works with voice, electronics and small ensembles, weaving notated material with improvisation. The programs often move between intimate vocal miniatures, text‑based scores and large‑scale soundscapes shaped in real time with live processing.
Spoken word, extended vocal techniques and fragments of everyday listening often find their way into the musical form.
Recordings
Tejaswinee’s recorded work ranges from solo vocal pieces and electroacoustic miniatures to collaborative albums with instrumentalists and poets. Studio projects often begin from small, fragile gestures—breath, syllables, environmental sounds—that are layered, processed and re‑assembled into dense, quietly shifting textures.
The recordings extend her concert practice into a more microscopic listening space, inviting repeated encounters with subtle changes of color, noise and silence. Many releases include text scores or visual elements that mirror the music’s structure.
Installations
Tejaswinee creates sound installations that inhabit galleries, public spaces and transitional sites such as stairwells and corridors. These works often use multichannel playback, text fragments and recorded voices to gently shift the listener’s perception of space and movement.
The installations unfold over long durations, inviting visitors to enter at any point and to experience the piece while walking, sitting or simply passing through. Architectural details, light and ambient noise are treated as compositional partners, turning each location into a slow‑moving, shared instrument.
Podcast om Musikalsk Arv i samarbeid med KHM
Depot Depository Rays
In this project, I collaborate with Petrine Vinje in her sculptural exhibition for a sound installation portraying the sensations of touch. Through a number of projects, Vinje has explored the exercise of power within the aesthetic realm. Depot. Depository. Rays will tell the story of her encounter with the Czech photographer František Drtíkol (1883-1961), an artist internationally celebrated as a master of Modernism, and widely known for his studio work on portraits and nudes. Vinje thereby asks if we can remake a historical situation, to deconstruct a gaze that has institutionally been imposed upon us. Her exhibition points towards alterations from an external to an internal perspective, where the possibility to withdraw and dedicate ones’ life to an idea comes as a natural response to crisis and disorder within a society. When artists and intellectuals are supposed to provide strategies of survival they also take on a position with an awareness of possible failure, the outermost consequence leading to a personal collapse.