Ending in a list: drawn by acts of closing, opening, and other things [...] (2021)
An accumulative durational installation.
Commissioned by Tone List for Audible Edge Festival 2021.
Co created with Lauren Catellani of Fonder Physical Theatre. Performed by Lauren Catellani, Ellen Hope Thomas and Alexander Turner.
Illawarra Flame studies (2019)
A ritual performance / installation, co-created with Be Gosper. This piece responds to the Black Summer 2019 Australian bush fire season. What community action and preventative measures within the pyrocene looks like. Raising concern to colonial ideas of fire stewardship and land management in Australia.
For Illawarra flame tree flowers, needle and thread, pedestal fan and stringed instruments.
Commissioned by Kelsey Diamond for the exhibition Found at Paper Mountain.
Site-specific performance and installation
co-created with Scott Galbraith for In Situ at Cyril Jackson Senior Campus.
For bed slats, resonating containers, plastic sheets, tape and portable speakers.
Supported by TURA New Music and STRUT Dance.
Dance & physical theatre / installation work with live electronics and objects, performed at Old Customs House for FRINGEWORLD Perth.
Supported by Ausdance grant. Awarded WA Dance and Physical Theatre Award.
Choreographed by Lauren Catellani of Fonder Physical Theatre. Performed by Ellen Broadhurst, Mani Mae Gomes and Sarah Sim.
Site-specific performance for 2 performers and portable speakers as part of Phonurgia Nova Radiophonic Workshop with Alessandro Bossetti (Arles, France).
Co-created with Claire Veysset.
Dance work with live electronics exploring digital intimacy, performed at STRUT Dance Company's Short Cuts at King St Arts Space.
Choreographed by Rikki Bremner. Performed by Sasha Brampton.
Dance work performed in STRUT Dance Company's Short Cuts at King St Arts Space.
Choreographed and performed by Mel Tan and Logan Rimshaw.
Reverb of the
Perth Town Hall (2018)
Mapping the reverb of the Perth Town hall in collaboration with Elliott Bennett.
Theatre work, presented at The Blue Room Theatre, Perth.
Written and directed by Noemie Huttner-Koros, performed by Madeleine McKewon, Evelyn Snook, Tamara Creasey, Karina White and Amelia Burke.
For ensemble of any size and instrumentation.
ID was written for and premiered at the Breaking Out concert as part of Tura New Music’s Totally Huge New Music Festival (2017). This concert was recorded by ABC Classic FM and featured on their New Waves podcast.
ID was selected by ABC Classic FM to represent Australia at the 2018 International Composers Rostrum in Budapest, Hungary.
It is only through the digital domain that artists & practitioners gained complete access to sound & its acoustic components, with electronic technologies enabling the manipulation, modulation & precise editing of sounds on minute scales of time and frequency. ID explores the intricacies and evolution of four loops by taking structural and workflow concepts of electronic music production, and recontextualising them in a live acoustic ensemble setting.
A research driven electronic project that relies on perceptual grouping theories (specifically the psychoacoustic notions of stream segregation and stream fusion introduced in Albert Bregman's Auditory Scene Analysis) to investigate the notion of perceptual ambiguity in music. With this project, I was interested in developing a set of compositional tools that could help ride the transitory state between fused and segregated
Swan Reeds (2017)
for voices, field recordings, 8-speakers, mobile phone playback, and electronics.
The doctor on the other end of the podcast was talking about false memory and the impact on eye witness testimonies. I was taking my running route around the Berringa Park wetlands. I took a shortcut, skip over stray pieces of bitumen that are being reworked, and my headphones fall out of my ears.
Pace of inner city
This work was built upon "intentionally disturbed" Timothy Opie's idea ecostructuralism field recordings of the Berringa wetlands. It investigates mimetic techniques for electro-acoustic composition, and relies upon a variety of spatialisation methods, including roaming-mobile phone audience playback.
Ban Tham Lot (2016)
Electro acoustic work arranged for multi-channel performance.
Sitting underneath hundreds of thousands of bats and swifts, as they wake up/return to roost in the Tham Lot caves in Soppong (a Shai tribe town on northern borders of Thailand).
Performed as part of the Mandurah Fringe Festival.