Meditative listening and musical improvisation are key aspects of my creative process. These practices help me align with what wants to happen; they allow me to move across different temporal zones, explore the in-between spaces, and activate hidden planes.
Sound and polyrhythmic perception are synergetic, multidirectional and multidimensional, connecting our bodies to our environments and communities, linking our neurons, cells and DNA to the stellar planes and beyond, and producing a sense of the pasts/futures about to unfold.
Transmission is constantly happening across what we call ‘inner’ and ‘outer’ space. We are receivers and emitters within an expansive, deep time flow. I try to listen in as many ways as possible, to tune into different frequency waves, let cellular memories emerge, let new synaptic pathways develop, let the fragments reassemble, and let the unforeseen emerge as sound and image.
Much of my solo and collaborative audio, visual and archival art making has to do with reverie, wonder, remembrance, futurity, and a desire to reposition events, herstories and cultural forms that have been marginalised, obscured or suppressed; to explore the minor gestures, the folds of time and the constellations of sounds that remind us about equality, social justice, the power of the spirit, the interconnected nature of existence, and what it is to be human.
Dub is the processing machine through which the works unfold, an organic, open system tracing and reshaping the debris of the past, and of past artworks, into their many possible futures. In dub, as in the cosmos, nothing is ever fully erased, everything can trans-form into something else, any seed/signal hidden underground, in the background or the interstices can emerge and give birth to a new constellation. It is about imagining not so much a decentred or centreless world, rather, a living space, a multiverse where the centre may exist anywhere, anytime, in any event, subjectivity or life form.
