Artistic Intentions : Statement of aspirations and intentions in my practice & deliveries

• As a sonic scenographer, I intend to play with and challenge the listener & spectator association with everyday familiarity and the memory of "right now".  
• I intend to deliver scenarios which are built upon everyday life, with also unexpected sounds: familiar and non-familiar.  

• I pull inspiration for these compositional scenarios directly from my everyday surroundings - in buildings, cities, nature and combinations of all of these.  

• Through building synthetic sounds as well as location-based and material-based sounds (field and foley), I can stylise and critically analyse my work in immediacy, through performativity and engaging with spectator feedback.  

• My compositions are a play between passive and non-passive (active) commentary on the everyday - in taking bravery to face the "now", unexpected instances arise.  It is a witty criticism of the world around us - sonic witticism!

• The accumulated scenographic foley is ever-expanding, as I gain a fluency in the language of expression of and connection with the world around us. Mediums include various forms of audio recording - foley, found, location/field - traditional/conventional musical integration (mostly digital), photo, video, written logs, and drawings.  

• Verbal language - particularly the phonetics of verbal language - play an important part in the performativity and human-integration of my compositions. 

Scenography >> Researching the ecologies of space through the audible and visual


In the first year of my MA Scenography, I developed and deepened particular aspects of my artistic practice.  

I experimented and collaborated on projects and I established the wherewithall to ask questions and significantly, to draw conclusions.  This has been an integral turn in my practice as my ability to address contexts in an informed and expressive manner is grounded and realised.

Now, in second year, I am aiming to further deepen my practice in contemporary skills, contexts that inspire me and expressive, performative research through spaces. 


Supporting Research & Influences

>> Samson Young - Hong Kong based sound media artist.  View his website 

His sound drawings have inspired me greatly to create visual descriptions of sound in space through gestural drawing, text and perhaps rubbings of space (printmaking) to visually describe the sonic texture

>> Liz Harris - aka: Grouper - solo artist, producer and musician.  View her website 

Liz's releases are rich in simplicity, immersion and a gentle persuasiveness in imperfection and ease of listening

>> Lucrecia Dalt - Geotechnical Engineer come 

Influential Artists + Other Artist's Work

Text-based research: what I'm reading & texts I refer to regularly

(I intend to summarise these texts in my own words)


>> Sound As An Object in Space - Tansy Spinks > here

>> Soundscape and Abstraction (language formed by environmental sound) > here

>> Places in Space > here

>> How Music Works, John Powell: The Science and Psychology of Beautiful Sounds, from Beethoven to The Beatles and Beyond > here

>> Performance Projections: Film and the Body in Action, Stephen Barber > here

>> Spaces Speak, Are You Listening?, Barry Blesser & Linda-Ruth Saltzer > here

>> Constructing Atmospheres: Test Sites for an Aesthetics of Joy, Margit Brünner > here

>> Hlysnan: The Notion and Politics of Listening, Berit Fischer > here

>> Acoustic Atmospheres, A Contribution to the Study of Ecological Aesthetics, . Bohme

>> Art as Experience – John Dewey
>> Sonic Interaction Design – Franinovic& Serafin
>> Constructing Atmospheres: Test Sites for an Aesthetics of Joy – Margit Brünner
>> Auditory Pathways & Sound Localization – David Heeger
>> Interfacing : Art, Research and the Creative Practictioner– Casey, Edmonds

>> Seeing Music Performance:  Visual Influences on Perception and Experience – Thompson, Graham, Russo

>> Does Visual Experience Influence the Spatial Distribution of Audible Attention? – Lerens, Renier

>> Soundscape and Abstraction: Exploring the Relationship Between Environmental Sound and Language – Leadley

>> Acoustic Ecology, Aesthetic Moralism and the Politics of Silence – Marie Thompson













Video & Audio research: listening + watchable materials 

(I intend to summarise these medias in my own words)

Documentary:  The Early Gurus of Electronic Music :

Providing me a root to how electronics expand and challenge the world and perception of audio

Documentary:  Daphne Oram - Wee Have Also Sound-Houses  

Interview: Cristina Kubisch, pioneer of sound installation and electromagnetic composition, on her process behind her long-standing global project Electrical Walks - "the plan is for me like a composition, there should be interesting sounds to hear, but they should not all be the same" // "it should be interesting to look as well, you are not walking with your eyes closed"

Playlist:  An ongoing playlist of audio research collected on the SoundCloud platform, playlist curated by me, with approach from scenography

Album:  Soul Jazz Records Presents:  Space, Energy and Light - Experimental Electronic and Acoustic Soundscapes 1961 - 88 

Featurette: Therese DePrez (1965 - 2017), production designer, about her process designing for Black Swan.  Beautifully, she speaks insight of her process in turning to nature for inspiration, getting away from her computer to find the "pallette" for the project.

Live set recording:  Olivia Block - Red Bull Studio

"Live performance clip from Olivia Block. Olivia Block is a media artist and composer. Her body of work includes sound recordings, audio-visual installations, performances, sound design for cinema, and scores for orchestra and chamber music concerts. In this experimental performance in celebration of Red Bull Music Festival Chicago, she makes all sound with the following: Organ, microcassette recorder, function generator/oscillator, laptop."

Tutorial:  Cristobal Tapia DeVeer - Jessica Hyde for Dummies  

Tutorial:  Creating Instruments from Found Sounds

Playlist:  An ongoing playlist of artist interviews and other influential media, curated by me

MiniDoc : LeGuess Who, Utrecht 2018 -   Robbie Cornellison (curator) and Lucrecia Dalt on Grasping the Spontaneity of Songwriting for Centraal Museum's "De LineUp"

"This sound piece that is going to be present there, is going to be like an extra layer to experience the exhibition. I guess what I’m doing is just to try and grasp the spontaneity of drawing."

Documentary:  The Art of Nonfiction

Documentative Video:  DARKSIDE (Dave Harrington - multi-instrumentalist & Nicolas Jaar - cross-genre electronic music artist) perform with light piece created by Dutch duo Children of the Light.  I was lucky to catch this performance in Dublin.  The spinning circular mirror and varying light-sources & haze created a spectacular immersive experience in the crowd.  The performative elements were also amplified and heightened.  Very inspirational performativity. 

Appropriating Space 

Borrowing from the everyday by making media samples to re-contextualise what we know in spatial experience

Using media taken from the everyday 
'Borrowing', 'Sampling'
Dates back to Dadaism, Surrealism,


According to wiki :

Appropriation in art is the use of pre-existing objects or images with little or no transformation applied to them.[1] The use of appropriation has played a significant role in the history of the arts (literaryvisualmusical and performing arts). In the visual arts, to appropriate means to properly adopt, borrow, recycle or sample aspects (or the entire form) of human-made visual culture. Notable in this respect are the Readymades of Marcel Duchamp.

Inherent in our understanding of appropriation is the concept that the new work re contextualizes whatever it borrows to create the new work. In most cases the original 'thing' remains accessible as the original, without change.





"Documentary is the only art where every aesthetic element almost always has ethical aspects and every ethical aspect can be used aesthetically" Viktor Kossakovsky

    "When a sight, sound, movement or place attracts your attention during your daily life, consider that moment an 'art experience'.  Find a way to record an impression of this momentary 'art experience' using any appropriate means or media.  Share these experiences with each other and make them available to others" - Pauline Oliveros (1932 - 2016): Open Field, 1980

"Nonfiction performance is the layering of real and imagined selves"  Robert Greene: The Art of Nonfiction Documentary -  To the “magical imitation of reality”: a love letter


• Scenography - Accumulative Foley •

A collection of places, atmospheres and details of my everyday life - things that spark my curiosity, have inanimate conversation with me and that act as documentation of my intuitive infatuation with things happening around me.  I extract the data of these moments to later serve as scenographic foley - to create new worlds from the one I engage in, by accumulating their information, collaging the media and creating new stories out of things typically overlooked.  The aim is to invite the imagination into our immediacy and to consider the every-day as an art experience.  
I compose audio compositions with the recorded audio of these moments, to create listening experience in which external time & space is invited into the current time & space, and the listener (spectator) imagination is invited to be curious, explorative and open.  These audio compositions also include vocals & synthetic sound.  I use music theory to "hack" the spaces : to turn them into "instruments", something I can engage with and transform.  
Transformation is one of the arising themes in my collection.  I like places and moments where something is happening - the space between old and new.  Arising in this, inanimacy comes to life - spaces take on rhythms and meaning arises where perhaps before there was none.

The collection for me is about taking another look at things that I would have been ignorant to if I did not lend myself to become occupied with it: it is about experiencing the every-day in with whole-ness and curiosity.

Scenographically, it opens up opportunity for creation and transformation, without directly referring to a text (such as a play) and allows the world around me to become foley.  With this in mind, the logs of the collection include as much extractable information as possible, including location and data.  The collection is accumulating to become it's own world.

Please click here to view the collection 



"The profound advantage offered by an Aesthetics of Atmospheres is that it can draw on a large reservoir of daily life experiences...  If atmospheres are moods, which one feels in the air, then we are describing a phenomenon which is familiar to everyone"  G. Bohme: Acoustic Atmospheres, A Contribution to        the Study of Ecological Aesthetics


Sampling life: image, video, audio