Lili Gomond

Musician and Performer

I express myself sonically through my saxhorn, as well as through my voice and singing. To tell these stories on stage, I transform into a clown-like musician. I feel rooted in the heritage of the saxhorn as a circus and brass band instrument. I see myself as part of the lineage of the inventive clown, who creates poetry with whatever is at hand: body, voice, objects, and music. To make the music more perceptible to the listener, I also give voice to inner music — that of the poetic body. My connection to the saxhorn, an instrument created around 1850, is also a connection to contemporary music, and to a recent repertoire that is yet to be written. I ground my musical practice in an oscillation between written tradition, oral transmission, improvisation, and extended performance techniques.

In 2024, she was awarded the Writing Grant for a sound and musical performance by SACD-Beaumarchais.

She was also awarded the FoRTE Emerging Talents Grant from the Île-de-France region in 2021.

CComposer & Sound Creator

My need to compose stems from my instrumental practice with the saxhorn — a lifelong companion and a kind of alter ego. Through this relationship, a broader quest emerged: the need for air. The metaphysical and political questions this awakened in me led me to experience musical composition as a search for the transformation of air.

I create music for the stage, closely connected to bodily expression. It reveals space and generates immersive sensory experiences. I question the meaning embedded in sound by contextualizing musical creation in relation to scenography, objects, physical phenomena, and bodies.

The musical work blends acoustic sound (physico-musical scores) with sound processed in real time (sonic scenographies).

Stage Director

I create performative music. I stage it using invented or repurposed objects that carry symbolic meanings, with which the performers come into friction.

The connection between Music and Visual Arts on stage imposes constraints on the body. These constraints create situations of play. I explore the expressions and emotions that can emerge from these situations. I direct as I compose the sound — these two gestures go hand in hand. The performative act of music relies on a precise form of writing: physical actions, timing, and facial expressions.

AArtistlástica

I define myself as a visual artist of music. I compose music through painting; I perform it with my saxhorn, my voice, and objects that I imagine or repurpose; or I make it visible through visual and sound installations.

Artist-Facilitator

I conceive the role of the socially engaged artist through pedagogical tools that intersect with artistic creation, in connection with the social and medical spheres. Through the SONARE project, I develop support for musical and scenic creation based on the practice of the respiratory gesture, which I relate to painting, movement, sound, and objects.