My art practice engages with site-specific experimentation and involves research with a variety of different media. Current acoustic projects include experimentation with sonic processes made visual through the use of sound emission analysers. Working collaboratively on Lab projects that encourage longer situated working environments before showing work to the public, is a continuing interest – particularly with participants that include a non-hierarchical range of age and experience.


Future Exhibitions :

Track Changes : at LV21 Lightship
A mini-residency organised by Figure Ground Projects on the LV21 Lightship moored at Gillingham Pier, Kent. This is a collaborative project in which I will be participating with 19 other artists. Supported by the Arts Council England and the LV21 Lightship, Kent.
The public opening is on Wednesday 20th April 2011, between 12.00 - 5.00 pm.


54th Venice Biennale 2011,
at ARTLIFE space,
Cannaregio 6021, Venice, Italy.
1st June – 30th July 2011


Cube4x4x4 (solo show)
MANNHEIM, Germany.
11 Nov - 16 Dec 2011

Centre for Creative Collaboration, 16 Acton Street, Kings Cross, LONDON. July 2010


Experimental collaboration became methodological process when co-curating and participating in DériveLab: project 2: Sound and Interaction at the Centre for Creative Collaboration during July 2010.

My initial idea for a project within DériveLab 2 involved installing a reflexive environment of sound frequency visualisations - picking up voice, which became reciprocal vocal/visual play, and continued into experimental noise production. The photographs (above upper right and left) show sound frequency visualisations during this process of vocal play and sound experimentation with visitors (including Doron Polak, upper right).

Two days before the opening this idea developed to include the collaborative input of experimental musician and sound artist Angelo Madonna, who performed live on the opening night with his partner Silvia Battista. Angelo directly improvised on a self-made theramin, experimenting widely with the parameters of the sound frequency environment - while Silvia engaged in overtone singing, which the Overtone Analyser software was specifically adapted to register visually. This experimental sound performance produced a particularly varied sonic frequency range.

Click here for further information about DériveLab: project 2 : Sound and Interaction