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Canvas and oil paint are the primary tools in which I use to convey a visual representation of sound and music within my practice. However despite this traditional method of creating art, I am influenced by and use a variety of other avenues in order to expand and develop my practice; photography, animation, AI-adapted collaboration, projection mapping, audio-based installations, and Synaesthesia. Synaesthesia, or more accurately in my case Chromesthesia, and the plentiful studies on the subject, have become a heavy focus and the biggest driving force behind the production of my audio-visual depictions and translations. Although this phenomenon is always in the back of my mind (usually on the back shelf), I allow myself to be fully overridden by sound, washed away, and engulfed in the eclectic compositions of both beat and rhythm when painting, releasing all control to sound, becoming a vessel in which sound can be translated onto canvas; to be given a tangible form.

 

Sound, and more specifically music, captivates. Made from swaths of moving parts, it becomes difficult to be fully enthralled by such a cacophony of different elements. However, when sound surrounds you, narrows and confines your sense, focusing and embracing the raw power that is sound. Your eyes widen, beginning to see the complex cascades of resonance; the flow of the track, the circular hum of bass, the sharp jabs and textures of electronic snares. 

 

When sound and a visual vessel click, I cannot help but be enthralled by the experience, a synaesthetic harmony between the two mediums. I am filled with a euphoric feeling of bliss and intoxication. This invigorating awakening stimulates and exhilarates me in such a way that I can’t help but want to transfer it into something more tangible, something I can see and relive; to gain a grasp on an instance that is unattainable. To perform each element in an adagios way, conveying it in a medium that I find most versatile in depicting all the dynamic changes in pitch, tone, texture, colour, brightness, and form. 

 

An entrancing audio-visual experience to those who view my work, to fully grip the mind, connecting the visual to the audible, to envelop the mind in a maelstrom of sound. To be able to transfer this synaesthetic experience to those who view my work, to enable them to feel weightless, to become all-encompassed in sound, to let go and to detach and disconnect from the weight of the world.

CV:

March 2018 : Photographer for Nelson & Colne College at the Hasan Dhaimish – life and works exhibition. 

April 2019 : Photographer for Pendleton Duck Race. 

Sept - Oct 2019 : Invigilator for and installation of the British Textile Biennial. 

June 2021 : Participating Artist (third prize) in the Haworth Charitable Trust Life Class Exhibition, 2021, online. 

Sept - Oct 2021 : Participating Artist and photographer at the Selina Cooper Exhibition, Unity Hall, Nelson. 

April 2022 : Participating Artist, invigilator, installation, and photographer at the Room 101 Exhibition, Manchester. 

May 2022 : Participating artist and first place winner of the Haworth Charitable Trust Life Class Exhibition, 2022, Salford. 

Oct 2022 : Visionists film group logo development and designer. 

Nov 2022 : Swings and Roundabouts debut album and disk art development and designer. 

Oct 2022 - Jan 2023 : Participating Artist at  Sound/Noise/Music/Soundscape, exhibition at the Jeremy Haworth Gallery, Stoller Hall, Chetham’s School of Music, Manchester.

April 2023 : Installation and Invigilator at York Open Studios

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