My practice is focused on the creation of sound works, from which I construct visual vessels, that mirror the sound's form, extending it into the physical.
The complexities between landscape and memory, city and pastoral environments, societal and personal nostalgia, and naturalness and authenticity are the driving stimuli behind my research and practice.
Created from textural collages of natural, artificial and archived sounds, my work explores the boundary between the internal and external. It couples personal and intimate sounds, captured at the microphone’s limits, with field recordings of noises in natural landscapes; the sound of my mum’s breath down the clarinet interlaced with the distant call of seagulls and turtledoves.
By interrupting landscapes void of human presence with bursts of intimacy, the sound pieces serve as a metaphor not only for personal, childhood longing but also, on a societal level, the desire to use past, simpler times as influence for future progress. Looking backward, romantically, to pave a clearer path forward. Both expressions of rose-tinted ideals and intangible, pseudo-nostalgic longing, the soundscapes permeate temporal boundaries. They exist in liminal spaces, caught between reality and the past.
In order to create these pieces, I initially work with audio works and poems to create ominous audible laments, after which I construct visual physical spaces, responding to the collaged soundscapes. Both sculptural and audible these laments attempt to subvert emotions that haunt us, projecting fictional voices to express real tensions and unease - reflecting on the crossing where fantasy tentacles into reality.