Biography
CV

I make sense of the world through listening – listening to the city, to the natural environment, to people and places, and from that process, figuring out ways to represent what I have heard as an artwork. I am fascinated by what Salomé Voegelin describes as the “political possibilities of sound”, not just how we hear sound and its (im)materiality, but what it can do.

Sound as a medium evades certainty, it is amorphous and pervasive, and this complexity inspires me as an artist, to sculpt and shape sound in a studio practice that is realised in many forms, whether as an installation, soundwalk, performance, film, or publication.

I use specialist binaural microphones worn in my ears as a means to research and record the audible world, to bodily engage with the soundscape, evoking a deep sense of connection to the world around me, in and through the sonic.

I am also interested in the notion of how places hold memory. In Stone Tape Theory, buildings and landscapes are understood as a form of analogue tape recorder which can capture and store the stories of the past. Through technological intervention and a poetic imagination, it is possible to summon these trapped spectral voices, and to evoke complex sonic worlds which portray the many layers of meaning buried within the noise of contemporary life.