For me, the art form that comes closest to the music I compose is architecture. When I contemplate a magnificent architectural form, I see a balance between the science of materials of the architect and his imagination, who amuses himself with forms.
When I create, my imagination is never completely free and autonomous, but remains intimately connected with the science of music, which governs the limits of that imagination. The continuity of the composition then flourishes in a sort of dance between structure and imagination: constraint and freedom. Each of them loses its autonomy in such a way as to merge one into the other.