Socially relevant yet deeply personal, Stanford Cheung connects with audiences through his work as a concert pianist, and multimedia poet, and sound artist across creative intersections beyond the traditional scene.
Stanford Cheung maintains an active performing career as a recitalist and soloist across North America, the UK, Canada and Asia. A top prize winner at the San Jose International Piano Competition, the Steinway Piano Competition, and Canadian Music Competition, he has performed at international venues including Carnegie Hall’s Zankel and Weill Hall in New York City, The Royal Ontario Museum and Living Arts Centre in Toronto, and The Kusatsu Performance Center in Tokyo. Among his notable engagements include opening the 44th season with the Mississauga Symphony Orchestra as well as touring with the OCMS Philharmonic for two consecutive seasons. He holds a Fellowship in piano performance from the Trinity College of London, UK, as well as degrees from the University of Toronto where he completed his Bachelors with Marietta Orlov, and his Masters at McGill University with Kyoko Hashimoto. Among Stanford’s close work with celebrated pedagogues Dang Thai Son, Christopher Hinterhuber, André Laplante, John O’Conor, and Logan Skelton, have also left a meaningful impact on him.
A cohort member of The Operating System & Liminal Lab Brooklyn, New York, Stanford maintains an equally versatile career as a multimedia poet and sound artist whose research focuses on “dystopian melancholia” and the wabi-sabi aesthetic. He leads the the multimodal initiative The Yuha Archive, an ongoing soundscape project combining poetry, music, field recording, acoustic sounds, improvisation, and electronics into a synthetic whole. Beginning of Fall 2021, The Operating System will support the creation of Stanford’s two-year collaborative composition project titled SONICFOLIO SCORES with the Belgian multi-instrumentalist Alain Lefebvre. The project will feature a monthly online serialization of 12 soundscape pieces and graphic scores. SONICFOLIO will eventually cumulate into a multi-modal book publication — an instructional manual geared towards possibility within myriad performance disciplinary spectrums, sonic geographies and intermedia expression. Upcoming projects also include DECAY, a sound sculpture concert commissioned by the 40th Rhubarb Festival that utilizes a degenerative piano to reimagine unconventional interpretations in classical music repertoire.
A versatile collaborator, Stanford has worked with a broad range of renowned artists including Morgan Fisher, Steven SJ Fowler, Lynne de Silva Johnson, Jonathan Kawchuk, Scott Hunter, Nobuo Kubota, Marc di Saverio, and Jordan A.Y Smith among others. Such collaborations have resulted in cross-disciplinary creations such as Bing (University of Edinburgh, 2021), We Could Be Anything (Crevasse Books, 2019), Comfort of Malice (Inspiritus, 2018), and Any Seam or Needlework (The Operating System, 2016). Stanford has exhibited poems as films and art installations at the Center for Contemporary Arts Kitakyushu in Tokyo, The Lunenburg Academy for Performing Arts in Nova Scotia, The Banff Centre for the Arts in Alberta, and Studio Kura Gallery in Fukuoka. An author of the poetry collection Demonstrator (Andata Express, 2020), Stanford’s poetry appears in anthologies and magazines such as the Tokyo Poetry Journal, Nomadic Journal, Otoliths, Saejowi Initiative, Prompt Iowa, Ricepaper and elsewhere.
Born in Toronto, Stanford was raised in a family of musicians. A many-faceted individual, Stanford has painted, drawn, danced and played several other instruments. He is an avid tea enthusiast, insatiable book worm, and continues to develop a great passion for film. Presently, Stanford is a Doctoral student at McGill University where his research dissertation is “Wabi-sabi Behind the Scenes in Ryuichi Sakamoto’s Async.” His continued entrepreneurial initiatives have been recognized by Canada House of Commons. Stanford serves as the artistic committee at the Chinese Cultural Centre of Greater Toronto.