Instrument building and performance form an ongoing part of my practice. This work moves between electronics, sculpture, sound, and live performance, using the design and calibration of instruments as a way of thinking materially. Rather than treating an instrument as a fixed tool, I approach it as a system that develops its own tendencies through tuning, use, instability, and repetition.
The instruments are built through a process that combines circuit design, prototyping, testing, and sculptural decision-making. Their form is not separate from their behaviour: enclosure, interface, tactility, fragility, and gesture all shape how sound emerges. In performance, these systems become a way of working with uncertainty, drift, and relation between body, machine, signal, and environment.
This strand of the work includes solo improvised electronics, live audiovisual performance, and collaborative projects such as SPIT. Across these contexts, I am interested in how a custom-built instrument can carry memory, bias, resistance, and character, and how performance becomes a way of exposing those qualities in real time.
For a fuller list of live sets and related events, see performance activity →
