I am an artist based in Kent. I\\\\\\\'ve been working with sound and music since I was a teenager and recently completed an MA in Sound Arts at the London College of Communication. Recent projects include: Ordinal 5, a sound work for dancers performed at the Tate Modern in November; Covas do Rio Cover Versions, a vocal cover version of a Portugese village; Field Recordings of former South London Windmills; an installation based around recordings made at the sites of old windmills and Radio Yesterday; broadcast for 24 hours on London\\\\\\\'s Resonance FM. I\\\\\\\'m currently working on an LP release of readings by Iain Sinclair for Test Centre (www.testcentre.org.uk). I also work collaboratively with Trish Scott creating site-specific works that playfully explore the narratives of places. Projects have included a false history of a Portugese marble quarry, a change management programme for a country park in Kent and a quest to revive the herring industry in a small Icelandic village. My PhD research is on listening within sound art practice, focussing on listening as performance and the multiple ways of listening that exist in the genre. Alongside my art practice I teach and run workshops in sound and listening. Recent teaching work includes running a module on listening at the Central School of Speech and Drama in London, and a six month schools project with the London International Festival of Theatre involving 7 schools across London, drawing inspiration from LIFT’s archive at Goldsmith’s to create new and inspiring pieces of installation and performance.

My relationship with field recording is one of tension. On the one hand I\\\\\\\'m often moved by the ability of a field recording to transport the listener, offering spaces for the ears (and the mind and the body) to inhabit. But I\\\\\\\'m also ambivalent about the claims field recording make about representing \\\\\\\'reality\\\\\\\'. Sound is ambiguous, and slippery in translation; sound \\\\\\\"in-situ\\\\\\\" is of quite a different order to sound captured on tape and re-played somewhere else. I often use field recordings in my work, and the pieces become, for better or worse, as much about the act of recording and reproduction as the sound recorded.