Swan Reeds (2017)
for voices, field recordings, 8-speakers, mobile phone playback, and electronics.
I run through the Berringa Park wetlands area. It has become a route for me; close to home, close to the river, to excercise, to show to others. Headphones are plugged safely into my ears now, and the doctor on the end of a podcast speaks about false memory and eye witness testimonies. I take a shortcut, skip over stray pieces of bitumen that are being reworked. My headphones fall out of my ears and I look around.
This work was built upon "intentionally disturbed" ecostructural 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.
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.
A 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.
A 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.
Connectivity (2019) [11']
dance work for STRUT Dance Company's Short Cuts at King St Arts Space with live electronics.
Untitled (2019) [10']
Mel Tan and Logan Rimshaw
performed in STRUT Dance Company's Short Cuts at King St Arts Space.
Reverb of the
Perth Town Hall (2018)
Mapping the reverb of the Perth Town hall in collaboration with Elliott Bennett.
ID (2017) [variable']
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.
We Exist Elsewhere (2017)
We Exist Elsewhere (2017)
Lauren Catellani, Fonder Physical Theatre
Ban Tham Lot (2016)
Ban Tham Lot (5')
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).
It was first performed as part of the Mandurah Fringe Festival.
for field recordists, wind quintet and electronics.
Sookie (2017) [45']
research driven electronic project that uses 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