Artist Manifesto

My work revolves around environmental issues and responses to our surroundings.
I’m interested in spatial sound and have been working with ambisonic to design immersive environments to engage audiences with aspect of nature that maybe under-researched or are unexplained. Plant communication is a part of our natural environment that isn’t fully understood yet. The installation (Un)Heard was an installation responding to the idea of plant communication. My work also looks at the how a new type of community can be built around a new type of art.



alongside my practice is an element of research whereby both feed off each other. To use my findings to strengthen my artistic concepts and to use my art to solidify what I am writing.

Using the medium of audio visual art to understand communication systems. Translation in different forms. If by understanding how we can translate messages through different forms can we relate that to different ways/perspective of translating biodata.

I wish to challenge environmental perceptions and how we perceive our current climate through audio visual work. Focusing on taking away the stigma that surrounds sound art with the term ambience. I believe installation can be immersive without the intention of being ambient.  Through carefully constructed sound pieces by placement of sounds and field recordings, my practice will develop how not only field recordings are treated within a works and how ambisonics can open up a different world of immersive experiences that can allow us to connect to our environments to bring greater awareness of our current global climate – we are now in the age of the climate extinction movement.

I also intend to look at energy efficiency in my work. By understanding my carbon footprint and how my own research and installation work’s impact on the planet.


Motives, or views of an artist or artistic movement.

My work predominantly is presented in an installation form which then allows me to create different iterations of a project through other mediums. This is because that any form of art should be able to be experienced in different ways. If work is only viewed in t digital form or as an installation then there is whole sector who are going to miss important messages through your art – especially in terms of an environmental movement.

Who are the researchers? – WHO you’re working with. HOW you’re working with others

I am working with different types of people in very different fields to allow me to bring together not only new ways of thinking but to allow for my projects to have the ability to expand in different ways. This could be from an artist perspective or from a technician perspective. For (Un)Heard the later has been important to installation to let it grow. It also gave way for the professionals to working on the technical side of it to have creative thought where I have found that their input is just as valuable as artists approach to a piece of work. It has always been my intention for those who work on a project with me to get something out of the project – whether it be a new a way of thinking, how to approach a problem, how to use and certain piece of a equipment (and finding it’s limits). It is also important for me to engage with and create new connections and to build a community around a new type of art.

This community should consist of:

  • The artist (me)
  • collaborators (maybe other artists)
  • Technicians  (could also be seen as collaborators)
  • Gallery/Art Space owners
  • Audience
  • Expertise working in the field of sound ecology/botany/environmetalist
  • Environmental Art
  • local communities – This could be a the next step for the project to engage with younger persons and the project and involve them in the project some how

Measurement of  success of an activity

Whether that is the attendance of the installation where 105 people were recorded in coming to the evening, I believe the real measure in success belongs to those that were involved in the process and made it happen. This projects aims were to bring a new way of thinking to people that had never looked at a project or an installation before and to challenge not only myself but others too. I believe that if the process in designing, installing, research and testing allowed for this to happen then the project should be marked as successful. This is because art should not only allow the audience to think, understand and look  a piece of work differently (by questioning themselves about the certain topic), but should also allow for everyone involved in the process to have a different outlook on a process or topic also. This then makes for a stronger piece of art and stronger collaboration relationships. A community – or a different type of community – is built within the creation of the piece.
What am I contributing to the debate (in my field of practice)

Environmental issue are important. Trying to establish whether my art work comes under an Anthropocenic category is something that needs to be reflected on further. The contribution that I will make will be to allow others a way into the world of plants through the eyes on an artist. I am not a scientist, biologist or a botanist. I am an artist. I will bring my perception of the world to start up  debate and to challenge a new way of thinking about plants – Why Plant Music? Why not Plant Language?


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