Practice

Listening is where my work begins, and it stays with the work until it finds its form.

Before recording, I spend time with a place. I walk, wait and notice how sound moves between terrain, weather, human activity and other forms of life. Every microphone position reflects a distance, a decision and a relationship. Nothing I record is neutral.

Listening as Relation

I approach listening as a way of entering into relation with places, people and what is not human. It asks me to recognise when to remain, when to respond and when not to record.

In community-based projects, listening also shapes how stories and experiences are encountered. The resulting work is one situated response to a place, formed through time, exchange and attention, and it leaves room for other voices.

Field and Environment

My fieldwork moves through rivers, forests, islands, coastal environments and urban margins. I use environmental microphones, hydrophones and contact microphones to listen beyond the limits of ordinary hearing: underwater life, structural vibration, and sounds hidden by the familiarity of everyday surroundings.

A recording is rarely the endpoint. Field materials may become a composition, live performance, headphone experience, sound intervention or participatory encounter. The form of each work grows out of the conditions of the place.

Body and Memory

Sound enters the body before it becomes an idea. Rhythm, vibration, distance and resonance can awaken memories that are difficult to approach through language alone.

My work considers how personal memory, local experience and collective history remain present within voices, environments and bodily responses. Listening becomes a way of encountering these layers without forcing them into a single narrative.

Across these practices, I am interested in how attention can change the relationship between a listener and the world, and in becoming more aware of what is present, what remains unheard and why.