'Circadian' offers a snapshot of a day-in-the-life of the world as it passes from night to day and back again across the globe. The audio-visual piece is centred around a composition that blends sound design, field recordings, found sound and music to capture the undulating rhythms of life.

Although occasionally spectacular or sinister, the everyday is more often mundane and repetitive. The 24-minute sonic narrative is illustrated by LIVE-streamed CCTV cameras. Each minute of the piece corresponds to one hour in the day with a live feed from a corresponding time zone representing that hour. An underlying tension is revealed, as our experience suggests, that when our attention is drawn to CCTV footage it is to witness an ‘incident’, yet in reality, very little happens; however, the live real-time nature of the feed means you could at any point be a possible witness to something extraordinary. The serendipitous aspect of the piece allows each cycle to be different and invites the observer to interpret and extract meaning from each scene dependent on the unique composition of sound and image.


'Santa Clara 76' is an audio-visual Installation piece consisting of pre-existing super8 camera footage, spliced, disjointed, re-arranged then re-represented as a montage with part-improvised sounds and music.

The piece explores themes of recycling and digitising old and unused material, a reversal of deterioration. Re-representing old media, free from context and narrative, part of a abstract composition; exhibiting new narratives and finding new relations between moving image and sound.

These found extracts (from Santa Clara, Cuba consist of architectural footage, medical research, landscape videography and social history.


Torus is a site-specific installation, developed for Harvest 2017, an arts festival held in Dordolla - a small village nestled in the mountains of Val Aupa, Friuli Venezia Giulia, Northern Italy.

Drawing on Timothy Moreton’s theories around ‘dark ecology’ as a means of expressing the "irony, ugliness, and horror" of ecology, the piece attempts to represent the site’s history (and pre-history) as well as its 'ecological entanglement’; moving between human and geological scales.

It was set in a semi-abandoned space, consisting of a house now used to store and dry vegetables and an overgrown yard that at one point housed several colonies of honeybees. Overlooking the location, looms the craggy presence of La Creta Grauzaria.

Torus features four channels of sound. One within the garden area, two from the upper domestic space and one from a small radio, located in the downstairs domestic space and behind a window left-ajar.

Each channel plays a loop of different length and represents aspects of time and place. As these loops play, they move in and out of sync, changing the experience at any given time.

Long, earthy drones evoke geological and primordial time spans whilst echoes of the space's agricultural and domestic past move in and out. Political and cultural interference sneak out from behind closed doors. As you move around the piece you move between the human and the ecological, the delicate and the brutal, the minute and the infinite.