a simple way to

measure the wind

Harmonica, wind, field recording.
3 minutes 53s
shown at Pier Arts Centre, Stromness, Orkney Islands. November/December 2008
And at La Ira Sónica, a sonic/new media arts festival in Coyoacán, Mexico City. July 2010

This recording responds to the extremely windy environment of the Orkney Islands. Taking a cheap harmonica into this setting provided a way to understand wind direction and intensity aurally. Strong gusts produce overtones and harmonics creating an interplay with the already occurring wind sounds.

auroral anomaly

Hand-made colour slides, mixed media and audio performance.
6 minutes.
projection approximately 5 x 3m
performed for the Ascension Cinema Festival, St Kevin’s Arcade, Auckland, New Zealand.
December 2006

The culmination of a series of three projector works, combining direct colour slide techniques and an audio piece with performance. Auroral Anomaly recreates the magical atmospheric field of an aurora. The audio evokes an environment that is warm and enchanting yet also detailed, blustery and crystalline.

space modulator

Slide projectors, hand-made colour slides, electronics and mixed media.
1.8 x 2.6 x 1.4m approx.
shown at rm103 gallery, Auckland, New Zealand.
September 2006

Suggestive of a mass of particles, explosions, orbits and gravitational arcs, this work was a development from earlier three projector works, using direct colour slides as the source for its atmospheric effects. The title makes a light-hearted reference to Laszlo Moholy-Nagy’s Light-Space Modulator while creating a work more playful and whimsical than its antecedent.

automated weather charts

Series of seven digital prints.
420 x 297mm
shown at rm103 gallery, Auckland, New Zealand.
September 2006

These works map the movement of weather systems across New Zealand over a one-week period. Reducing the map to sites of data collection and their readings disrupts the boundaries between geographical and meteorological readings. The landform appears cloud-like, while the atmospheric data begins to conform to a recognizable landmass.

Each image is grounded upon the International Meteorological Organization index for the numerical descriptions of weather conditions. Containing phrases such as “36: Slight or moderate drifting snow (below eye level)”, it shows the imprecision and subjectivity of this rationalist project carried to an absurd extreme.



Field recording, real-time audio manipulation.
5 minutes 17s
released on the label Compact Listen.
August 2006

A single field recording documents the aural richness of an everyday moment. Seagulls, people passing, a homeless man playing recorder, the drone of a lawn-mower and a nearby clock chiming 12 all feature in this recording made alongside the Albert Park fountain in central Auckland. Qualities of sound are amplified, exaggerated and manipulated via a custom piece of real-time audio programming.

test pattern

(three colour cycle)

Slide projectors, timers, electronics and mixed media.
2.5 x 3.2 x 1.9m approx.
shown at High Street Project gallery, Christchurch, New Zealand.
May 2006

This piece occupies a space between the still and moving image. Projections are reflected off rotating mirrored surfaces and diffused across a wall surface, transforming each image into a slowly orbiting field of its constituent parts.

This project references the organization of “bottom-up” systems; the original still image becomes the seed for the generation of a pattern-field. Timers create phase relationships and a visual feedback loop locates the original images as details in the larger context of the piece.


Lead, thread, printed card, sunlight and audio.
3 x 5.5 x 2m approx
shown at Phatspace ARI, Sydney, Australia.
July 2005

data_cloud makes tangible a bodily relationship to data’s cloudy characteristics: indeterminacy, vastness, plurality, obscurity, lightness and ephemerality. It also alludes to the formal systems that underpin the construction and collection of data. It examines the interplay between the system and its mobile content.

The work posits that the system of weather data collection is not one of abstraction (leading to an understanding of clouds and their operations) but one of substitution. The collection of data mirrors the sky above and replaces one dynamic ephemeral condition with another; data is also boundless and immaterial.

white out

Embossed paper construction, light, audio.
3.2 x 4.3 x 2.5m approx.
shown at Canary Gallery, Auckland, New Zealand.
September 2004

This installation sought to take the ephemeral atmospheric condition of a white out and to articulate its spatiality via the discipline of architecture. Its seemingly limitless condition becomes a failed geodesic construction, crystalline in appearance.

In a white out, the entire visual field is overwhelmed by whiteness via a process of light/information being diffused through each particle of water vapour. This denies a perspectival understanding of space and flattens depth-perception to an all-over field. Diffusion creates an over-presencing of information and a seeming blankness, yet one full of encoded meaning. The blankness of the white-out, threatening in the natural environment, in the gallery context becomes a space of potential where the magical and meditative can exist.

The overwhelming quantity of coded information and a concern for non-visual modes of navigation introduced the subtle manipulation of surface through repeated embossings of axonometric details taken from the site. A real-time sound piece took noises from in and around the gallery and manipulated them into an aural field of site specific textural “noise”.