Artist Statement

Listening to the world
“As an only child, I passed the time by collecting things… and later when my parents bought me my first cassette recorder, I collected sounds.”
(The Family Album, 2005)


A fascination with noises informs all of my work.  My practice engages with the contemporary sound world to unpick and reframe the notion of noise as unwanted signal.

My process begins with listening to and recording everyday sounds, and my aim is a deep and immersive understanding of place through attention to the soundscape. Back in the studio, I work with sounds in many different ways depending on context, to produce gallery and museum installations, compositions, sound designs, film soundtracks, podcasts and radiophonic works.

I utilise binaural sound recording techniques to capture 3D audio environments and through a mediated listening process I call dis/embodied listening, I invite my audience to consider what the sounds of the world around us have to tell us about the prevailing social conditions and culture.

My practice also investigates the historic connections between the post-digital era and the early decades of modernism, through the sweeping historical movements that have challenged and continue to disrupt the fabric of our society. I reflect upon this through a form of artistic activism, exploring ‘sonic agency’ (Labelle, 2019) through composition, collage and narrative, and recycling and repurposing the digital junk of a global marketplace. My performative alter ego, Giuseppe Marinetti, Conceptual Politician and Radical Crooner, and founder of the Neo Futurist Collective continues to lead an artist group that draws its inspiration from the Milan Futurists and, in particular, Luigi Russolo’s Art of Noises manifesto.

Whether recording and reworking the views of the public on democracy in Revolution #10, or adapting the sound of Berlin coffee shops to evoke a “Shoreditchification” of the high street, my practice explores how a simple act of listening can become a revolutionary intervention in our increasingly globalised public spaces.