My creative output revolves around the intuitive aspects of music and sound.
I prefer to allow my emotions to inform my work and whilst the concept of personal and cultural theory is indeed a part of my creative outlook, for me those things are indeed personal and not something I insist the audience is aware of.
Having started making music by improvising some 28 years ago & at a rather early age, I have been using the term ’intuitive’ for some years now as I feel it more closely fits my work.
Main areas of my practice include:
Field recordings – something I began to explore when I was very young and continue to enjoy with an increased sense of both obvious and hidden sounds. I prefer to use simple equipment and methods. For me field recording is about capturing the moment of discovery or simple enjoyment or interest – not attempting to make a ’perfect’ recording of a sound that we do not control.
Acoustic objects & instruments – including GuZheng, Zithers, Piano, Guitar, Shamisen, music boxes and various everyday objects (shells, stones, wood, household items & often items found around the venue of each performance etc)
Clear input & inside sounds – clear input sound is a method I have used since the early 1980’s. It involves the use of various electronic items without a conventional instrument as an input. ’Inside’ sounds describes the process of exploring the audible inner workings of instruments and objects by the use of contact mics etc.
Subtle aspects of music and sound are paramount in my work.
