I am a multi-disciplinary artist making story across a variety of practices, where the texture and details invoke narratives and worlds. In the relentlessly online, rapidly evolving world that we’ve somehow found ourselves on, I find a reality in grounding my art in an earthen sense of geographic place. Glimpsing the ephemeral through the literal. Charcoal on the dreamed cave wall. Bringing them together and making patient, textural and wuthering pieces that nebulously interweave field recording and music. Through processes of earthy tape recording, minimalist digital tracking and real-world field recording, I see the romance in choice of technology and environment I shape my art with. Equally informed by David Lynch soundscapes and traditional Korean Gugak, as I am by black metal and Enya, I am interested in manipulating sound to shepherd an audience into an immersive, hazily-curated world, where the chaos of subjective response is embraced. In the past, I have often used sound art as a compliment to other media; filling the gallery space with a collage, effectively soundtracking painted works, or pairing atmospheric video with personal, intimate music. That foggy place where traditional formatting and packaging of art forms start to blur is exciting to me. What separates audio drama from opera, or music video from installation? Alongside visual elements I can’t help but feel that sound takes on an unavoidable, detectable, intentionality. That’s desirable in many ways, but I’m curious to see what quiet ambiguities sound art holds when we let it do the talking, instead of playing wingman or usher to media perceived to carry more ordained ‘importance’.
