Post Paradise series
not for sensitive skin
paul zaba's accordion songbook vol. 1
darmstadt summer course
glasgow school of art
Visual Object
glasgow school of art
Girls just wanna have phonics
previous arrow
next arrow
previous arrownext arrow

I am an artist, experimental composer and researcher developing collaborative composition methods through practice based research.What I’m currently working towards is to share with the audience, in some way, how the musicians’ bodies feel and act while they play/perform/interact with their instruments and the environment around them. I am interested in uncovering the musicians’ inner worlds, composing with situations and with elements of a lived experience. I am generally unconcerned with creating sound material but care about the experiential effect sound might have on both doers and listeners. I am recently welcoming more ecological views – qualities of the environment that may be experienced aesthetically – into my practice. My PhD takes place at University of Glasgow and Royal Conservatoire of Scotland and my research is generously funded by AHRC through the Scottish Graduate School for Arts and Humanities.

I graduated from Royal Birmingham Conservatoire, Music Technology department in 2014 and completed my Masters in Sound for Moving Image at Glasgow School of Art in 2016. For both degrees, my graduation projects looked at Pierre Schaeffer’s Typo-morphology theory, exploring how to apply this theory of analysis into a tool for composition. This led me to collaborate with creative coder Pawel Kudel to create Visual Object, interactive software that gave me live performative control over a moving visual score performed by Glasgow Improvisers Orchestra.

After using Visual Object, the concept of having the score as a participative element stayed with me and matured in future projects, such as not for sensitive skin and Breathe. What happens when the score becomes a tactile stimulus? How can the audience embody the experience of a performer? How does the composition process change when the performer’s subjective experience is what informs the piece? These are some of the questions that my practice is exploring through academic research, performance and new music.

Continue reading on About page…