FROM EAR TO HAND – MAKING SOUND-WORLDS (Several locations, Faroe Islands, 2019)

From Ear to Hand is a workshop that explores children’s natural story-telling instincts, curiosity and the knowledge of their surrounding landscape to create sound narratives using everyday objects. They will be invited to do so using so-called foley techniques, where everyday materials are explored for their sonic properties: gloves can become flapping wings, finger-tapping a heavy rainfall, or a balloon a squeaky door hinge.

The focus of the workshop is to engage with the children’s knowledge and awareness of the sounds present in their everyday lives, while being open to imagined places and spaces.

The workshop took place in 4 different schools, one week per school, with children 5-10 years old. The final outcome of the different sound exploration exercises were different soundtracks created and performed by the children, for short clips from two of Japanese filmmaker Miyazaki’s animation classics. Examples below:

This project was made in the context of the Listaleypurin artistic residency and exchange program, and with generous support from local partners.

THE ANIMAL EMPIRE – YOU ARE NOT INVITED (Copenhagen, Denmark, 2019)

Animal Empire” is an ongoing performance research project by Danish artists, dancers and choreographers Linh Le and Peter Vadim, in which they investigate the social and political context and consequences of the use of animal metaphors (mostly negative ones such as “pest”) in order to portray specific minority groups in contemporary societies.

Having being invited as moderator to the performance series taking place at Bådteatret, I also composed a podcast manifestation of the project, including an original soundscape and samples of the discussions taking place between the invited guests and the audience, after each performance.

Photo credit: Sebastian Neerup Mandel

SOUNDING SHIFT (Copenhagen, Denmark – Christchurch, New Zealand, 2016)

Sounding Shift – The Transitional Core in Everyday Sound Objects is an exploration of how the audio format might be able to sustain and invoke transdisciplinarity. It occurs as a manifestation of the possibility of dialogue and mutual embodiment between Sound Art and Philosophy. It is both a soundscape composition and an audio-essay, sparked by the question: “What is the contemporary sound object?”. It was published within the context of the third issue of the Writing Around Sound journal, edited by Richard Keys and Jo Burzynska, and connected to the Auricle Sonic Arts Gallery, located in Christchurch, New Zealand. The text accompanying the sound piece can be read here.