The Art of VVAVES
Visual stereo - the same language I explore in sound: pattern; pulse; harmony.
This work is often durational and ephemeral, grounded in the idea that image can carry vibration too.
Some of it moves through analog waves — like ink, or touch, as in bowl-to-body sound massage. Some of it moves through screens, via sound-reactive motion graphics. Together, it forms a visual language that reflects the blend of digital and traditional processes at the core of my practice.
It’s also a personal, meditative practice — something I do for its own quiet pleasure (but inevitably becomes part of the work).
Visual stereo sound-activated motion graphics with soundscape composition.
Suminagashi
These works were made inspired by traditional suminagashi techniques with some created directly inside my singing bowls.
The ink floats on water, moved by vibration and subtle motion. Like analog waveforms or awareness itself. The patterns form in collaboration with the process. A balance between control and choas.
A visual extension of the same principles I explore through sound.
A trio of videos that illustrate the mood and the element and some of the process behind the movements of the piece.
Created as a sleeve note for the soundtrack I composed for the Drowned In Sound podcast
Trigrams are borrowed from the IChing. Eight symbols from ancient Chinese philosophy, representing natural forces and cycles of change.
☱ (Lake)
We all come to any piece music, or even the soundscape in our environment with a personal narrative.
The silence at home when you know everyone else is asleep, is different to the silence when you're waiting for someone to return.
But is a soundtrack a complete entity without the accompanying layer it was created to sit with?
Does it matter?
Can you look at the reflection and not the subject being reflected?
Soundscape includes hydrophone (underwater microphone) field recordings taken in lakes in the London and California during my 2024 artist residency.☴ (Wind)
The wind isn’t seen, it’s felt.
It passes through whatever is open, bringing movement to what’s flexible enough to respond.
Or drifting past what stays immovable.
Powerful enough to shake houses. Gentle enough to cool skin on a warm day.
Untethered, but never without direction.
Electronic instruments don’t rely on vibrating air like wind or percussion do. Yet they move us all the same.
With field recordings in London, Taiwan, Hong Kong and California during my 2024 artist residency in LA.☵ Water
Flow, depth and uncertainty. Water adapts without losing itself.
Music for not listening to.
The same water on our planet, forever.
The Universal Sound of the sea, of rushing water. The same throughout time.
How do you represent something that is changing?
Sound-Reactive Motion Graphics
Using motion graphics and sound-reactive systems, I create visuals that respond to tone, frequency, rhythm and silence. It’s a way of giving shape to the unseen — a process that feels somewhere between coding, drawing, and listening. These pieces are sketches as much as they are meditations. Fleeting, often intuitive, and part of the wider sensory language I work with.
Commissions & Collabs
Always excited to hear about your project or work with other artists if something here resonates with you. Or if you have space to exhibit work/installations, reach out.