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selected works

Jerwood Staging Series – Radiophonic Workshop

Workshop series. Two sessions.

These workshops aim to explore the creative use of sound in the contexts of radio broadcasting and audio artworks. The sessions engage with a Southwark-based youth group, and work towards conception, development and production of a radiophonic piece using existing youth-run recording facilities, while also providing professional practice insight into the workings of an active community radio station – Resonance FM. The idea is to encourage processes of developing content and experiment with forms in which they could be delivered; learn about the technical aspects of recording and editing audio; develop contextual awareness.

Lead artist. London, September 2018. Commissioned by and developed in collaboration with Jerwood Visual Arts.

Partial Recall

Radio feature.

Commemorating the first manifestation of Resonance that took place in 1998 on 107.3FM broadcasting from the Royal Festival Hall in London. A month of radio instigated and curated by Phil England and Ed Baxter for London Musicians’ Collective.

Production, commissioned by Resonance & broadcast on Resonance Extra, June 2018.

Meditating I/Os

Documentary theatre.

Meditating I/Os is a live presentation of documentary material dramatised as a piece of experimental theatre/reading. Meursault - the protagonist of The Outsider (1942) - is lost in time and space. He de- and re-constructs his story, moving through a transcendent landscape of noise in order to piece together a narrative for himself and others, and make sense of the strange world that surrounds him on stage.

Staged using an eclectic combination of media with an emphasis on experiencing a story through sound, the play explores human-object relationships and the entanglement of things in a post-digital reality. Our revised protagonist is an avatar of his existence.

Direction & design. Two performances at IKLECTIK, London + broadcasts on Resonance FM & Extra, May 2018. Commissioned by Resonance as part of Strands, supported by Jerwood Charitable Foundation.

Who cares? A radio tale

Who cares? A radio tale turns Gasworks into a live broadcast studio in collaboration with the renowned experimental radio station Resonance FM. A programme of newly commissioned and existing performances, sound works, and discussions take up the subject of affective labour, summarised by philosopher Michael Hardt as a term that ‘grasp[s] simultaneously the corporeal and intellectual aspects of the new forms of production, recognizing that such labor engages at once with rational intelligence and with the passions or feeling’.

Affective labour is commonly understood as invisible. Who cares? A radio tale lays open this assertion by using the intangible medium of radio and enabling the audience to see the hidden mechanisms. Either present in the gallery or listening from anywhere in the world, attendees and listeners are invited to engage with questions including: What are the implications of having to manage emotions in the workplace? What kind of emotional work is expected in capitalist economies? What does care and labour demand from its workers?

International collaborators include: Céline Berger, Patricia Domínguez with Terezie Štindlová & Radim Lisa, Eva Fàbregas, Temi Odumosu, Claudia Pagès, Elisa Giardina Papa, Rosalie Schweiker with Sophie Chapman & Kerri Jefferis, Salomé Voegelin, Women of Colour Index Reading Group and Jon Wozencroft.

Sound engineer. Gasworks, London + broadcasts on Resonance FM, May 2018. Commissioned by Resonance as part of Strands, supported by Jerwood Charitable Foundation. Curated by Naz Bescan, Ibrahim Cisse, Harriet Costello, Benedetta D’Ettore, Alba Folgado and Agata Kik, as part of the Curating Contemporary Art Programme MA Graduate Projects 2018, Royal College of Art.

Phantom Field

Work in progress. Live performances.

Phantom Field is a collaborative exploration into imaginary sonic events through improvisation and interaction with objects and electronics.

Lucie Štěpánková is an electronic musician and sound artist investigating the limits of listening experience and the sonority of materials and objects. By combining synthesis, field recording and improvisation, her aim is to create emotionally vibrant sonic happenings and listening situations. She invites listeners to actively engage in explorations of the detail within sound through introducing repetition and slow progression over extended durations.

Durational performance as part of 202 Gallery's Pt. IV: MAPS, Central Saint Martins, London, May 2018. More to follow...

Bedtime Monologues

Radio performances. 3 x 60 mins.

A three-part series of monthly radio performances exploring a specific theme with a changing collaborator each time. These improvised broad casts will follow absurd trails of thought of their creators – inspired by curiosity, memories, imaginations and everything in between. The performances are a collection of sonic bedtime stories experimenting with ourselves and the world that surrounds us.

Our dreamlike landscapes of sound aim to immerse listeners in time and space – playfully discussing heavy themes, such as anthropocentrism; time and space; boundaries of reality, imagination and dreams. The sourced material varies across the broadcasts, consisting of manipulated field recordings; sampled interviews, talks and films; poetry and other text; combining our pre-prepared sequences with live music, reading and games. This is a cross-disciplinary collaboration between artists of many practices – merging our ways of working together into a single stereo output of sound – unique collisions of aesthetic interests, energies and stories to share with the world. The pool of research and preparation for each broadcast acts as a mere framework within which to play live, leading us on unexpected tangents and hopefully some exciting future work.

TLDR: sonic obscurities, collaborations and improvisations to explore real-world topics in playful ways.

Co-production. Resonance 104.4 FM central London, DAB to Greater London, live streamed online to the rest of the world, January-April 2018.

Barbican Open Lab 2018 w/ HOME

Residencies. Installation/live performance.

Open Lab is an opportunity for artists to experiment across disciplines without expectations to produce a finished piece of art. This consists of a week at HOME in Manchester and a week in the Pit Theatre at the Barbican in London.

Working in collaboration with visual artist Anna Nykyri (Helsinki, Finland) & movement artist Louiseanne Wong (London, UK). Mentored by Sarah Perks (Artistic Director for Visual Art at HOME Manchester).

Artist in residence, March 2018.


Radio. 28 mins. STRANGENESS: a documentary composition exploring everyday emergences of weirdness and the eerie across scales and lifeworlds - a combination of field recordings, interviews and other sonic obscurities that voice perspectives on the absurdity of life. This broadcast is a contribution on behalf of Resonance FM.

Broadcast across the Radia Network (Berlin DE, Brussels BE, Dartington UK, Dunedin NZ, Firenze IT, Frankfurt/Main DE, Graz AT, Haifa IL, Halle DE, Kingston CA, Lisboa PT, Ljubljana SI, London UK, Marseille FR, Montréal CA, Nantes FR, New York USA, Oslo NO, Paris FR, Rotterdam NL, San Marino SM, Skopje MK, Sydney AU, Ürzig DE, Vienna AT, Zaragoza ES. February 2018.

Sound in Experimental Theatre

Workshop series. Three sessions.

Designed to be a mutually beneficial learning experience, rather than conventional lectures, the series is catered for all Sound Art (LCC) + Performance Design and Practice (CSM) students with an interest in sound for theatre and live performance.

The sessions discuss a variety of contexts relating to sound in performance making: interaction, immersion and audience experience… touching on the aesthetic legacies of the 20th century avant-garde and the emergence of the postdramatic ecosystem. The purpose of the workshops is to bring together artists to share interests and experiences across disciplines and media in a non-hierarchical manner, within a setting that encourages experimentation.

“The distortion of ideas, models and theories when they are taken outside their disciplinary context is not only a necessary risk but also - more importantly - a possible source of invention. The perturbation of these disciplinary ‘messages’ comes with potentially unexpected insights that may allow alternative ways of understanding phenomena and their operations.” (Thompson, 2017)

Performance Lab, London College of Communication, January-February 2018.

Pixel Tears

Documentary theatre. The piece follows a young woman wandering through her post-breakup emotional landscape inside an online therapy program. An eclectic mixture of spoken word, pop songs and projections, continually shifting between the banal and the surreal.

Sound design. Performed in the White Lab at Central Saint Martins, London, May 2017; The Garage at Ugly Duck, London, June 2017; Camden People's Theatre as part of The Shape of Things to Come, London, November 2017.

Something Spinning Ends

Short devised performance exploring the repetitiveness of the everyday.

Sound design. Performed at The Cockpit as part of The Female Gaze & Other Stories - Volume III: Spellbound, London, October 2017.

Girls Eat

Short play. 4.2 surround audio. Live improvisation using M4L tools.

Sound design. Performed at The Cockpit as part of The Female Gaze & Other Stories - Volume II: Written on the Body, London, June 2017.


Data Pool of Things (DPoT). Documentary eight-channel composition exploring strangeness, ecology, and human-object relationships.

Production. Online, May 2017.

Hold Tight and Sink

Performance art piece exploring feelings of isolation, anxiety and confusion through movement. Inspired by the myth of Jonah and Whale, this abstract piece invites the audience to look for meaning in a post-truth world.

Sound design & performance. Performed in the Platform Theatre at Central Saint Martins, London, May 2017.

RA Lates - The 1898 Bal du Rat Mort

Short film. 3 min 12 sec. Single channel video, stereo audio. Part of the RA Lates at the Royal Academy of Arts in London. Relates to performance at event.

Sound design + mixing. Installed at the Royal Academy of Arts for the duration of the event. London, December 2016.

Another Bald Dead Woman

Body-altering weight loss and plastic surgery, decaying flesh of peeling parents, and religious self-mutilation from the American heartland. Visceral true stories that explore the human body as both medium and canvas through narrative, sculpture, movement, and sound.

An interactive sound installation built on stage: contact microphones attached onto the stage floor acting as vibration triggers, transforming the space into an instrument and the physical bodies within it into musicians. Ambient soundscapes and other stories created live by the performers.

Sound design. Performed in the Town Hall, Ipswich, as part of SPILL Festival of Performance, October 2016.

People on the High Line

Music video. 3 min 38 sec. Single channel video, stereo audio. Music by New Order.

Sound design, foley capture + mixing. Online, September 2016.

No Longer a Secret

Experimental theatre. Deconstruction of The Secret Garden by F.H.Burnett. Told through the nostalgic eyes of a bitter old man in his hospital bed.

Sound design. Performed in the Studio Theatre at Central Saint Martins, London, September 2016.


Based on the writings of Richard Wagner, Kandinsky, Nietzsche, and Walter Benjamin, CULT is an experimental live-art piece bringing together elements of choreography, sound installation, performance art and opera. It explores existing human (+ non-human) cultures as well as alternatives for a Utopian future.

Music + live effects processing by performers.

Sound capture, mixing & operation. Performed in the White Lab at Central Saint Martins, London, May 2016; Tokyo Future Shorts (streamed live from NX, London), August 2016.

36 Dramatic Situations

Short film. 7 min 33 sec. Three-channel video, stereo audio. The film offers the viewer a backstage view of a theatre production without revealing any onstage content. The film was unscripted, and the actors and audience were not told what play was theoretically taking place on stage. By withholding this information those involved had to use method acting, performing through experience or taking on certain expected behaviours of performers.

Where the drama has been reduced by obscuring the visual content, the plot development and tension is heightened by the use of sound and the film score.  Whether off-screen sound, backstage clattering or a dramatic viola performance; the constructivist looping rhythm generates choreographed tension throughout the piece where real action is absent.

Sound design. Installed at Chelsea College of Arts, May 2016.