Drawing Machine

A variation of several drawing machines I have made, this one presented at the OUTPOST studio holder show in August. These machines were initially built to make sound but I found they made far better images.


I was invited by Michael James Lewis to create some work for a show in the Norwich Cathedral hostry.

The show, called ‘As and When; In the Waxing Crescent’ is a series of drawings and instruments. 15580/38 is a pair of instruments that each strike a piece of Norfolk flint, once per minute, for 38 days.

With Air

My contribution to Cley19 was an acousmatic performance with Tazelaar Stevenson.

Curated by Dyad Creative, I was invited to create a performance for St Mary’s Church. Focusing on the drawing and mark making machines I have been focusing on recently, the performance uses recorded audio to create sound and kinetic energy.

The performance resulted in a series of permanent and temporary drawings.


The Norfolk and Norwich Sonic Arts Collective were invited to co-curate the Norwich Leg of Electropixel9; the experimental music festival from Nantes based collective APO33.

I made this electroacoustic performance using two oscillating fans as the main sound source.


Warm Soft Body

I made a film using for the Outpost Open Film screening on 30th March 2019.

Warm Soft Body is a short film which explores phoney symbolism and the weaponising of sound.  It has been mixed to optimise the cinema’s sub bass which may not be reflected through listening to it via YouTube.

Crystalline performance at Buxton Museum

Long term collaborator, Will Hurt invited me to perform on the last day of his exhibition at Buxton Museum and Art Gallery on the 16th March.

Will had spent time studying the amazing collection of crystals and minerals and made a series of interactive works in response. My performance used rocks and stones (not precious) as an audio source, as well as specially made field recordings of crystal extraction and found sound.


Ear of the Edgeland, Ep.1 ‘Broadsound’

I produced this lovely podcast on behalf of the Norfolk & Norwich Sonic Arts Collective.

It’s the first in a series that takes an explorative and alternative look at Norfolk. This first episode includes naturalist Mark Cocker in conversation with artist and author, Jean McNeil. It also includes musical responses from Surlingham-based The Happy Couple and binaural field recordings from Ollie Hall and Richard Fair.

KOMA Field Kit DC experiments

I made this cassette player device which is controlled by the Field Kit’s DC interface. In these preliminary tests I’ve just used the Field Kit’s LFO but I can imagine using more interesting signals to control the DC output would create some lovely things.


Mega Phoney

I was invited to participate in the event to celebrate the 10th anniversary of The Neutrinos ‘The Butcher of Common Sense’ project. Guests were invited to present a ‘cover version’ of one of their pieces from the BOCS album.

Here is my version of ‘Spill the Sea’; using a short snippet of the original track as the only audio input, the piece uses the inbuilt record function of five megaphones, through a series of resampling the megaphones are eventually overcome by the frequencies of the stairwell where it was performed, slowly evolving into a sea of texture.


I recently did some sound design for my friend and collaborator, Will Hurt. His piece MASS is being shown at the CUBE gallery, Lincoln, Nebraska.


Stones (1968)

For the first anniversary of the Norfolk and Norwich Sonic Arts Collective, I produced a workshop and performance of Christian Wolff’s masterpiece ‘Stones’, led by electronics improviser, David Ross.

We attracted 10 participants who created their own microphones, gathered materials, developed performance and sound techniques, and created a wonderful interpretation of the piece.

A recording (which I mixed) has been included on this wonderful complication from Berlin-based label E42.A8


I have a piece featured in the next episode of ‘The Ear Has To Travel’ on Cashmere Radio, presented by Katharina Schmidt.

My piece ‘Trees’ is an audio collage of recordings made of the internal structures of trees during a few recent storms.


I recently did some mentoring for the wonderful Eyebrow Arts, as part of their most recent research and development into multi-sensory, interactive performance for audiences living with dementia.

As a result I was asked to create some bespoke instruments based on a rainstick, where the materials inside the rainstick could be seen moving. It was also necessary for the materials inside the sticks to be swapped in and out quickly and for them to be relatively lightweight.

I’m really pleased with the end result and had a great time working with a laser cutter. The theme of their current show is the coast and so these instruments have been named ‘Wavestick’

Studies for No-Input Mixer and Field Recording

I made an album for the One Month Album project. Made using a no-input mixer system which I’ve called ‘some input mixer’, which basically consists of an additional mono channel that field recordings are fed into. It creates interesting gating and distortion and adds an extra layer of unpredictability.

Temporal Objects

I was invited to create some work for the East Anglian Art Fund show ‘Inheritance’ which is currently on at Norwich Castle Museum from 3 March until 20 May 2018.

My work, ‘Temporal Objects’ consists of a cabinet of objects which accompanies a 5 minute sound piece. The installation is also accompanied by a Bandcamp page which allows the audience to listen to each track from the live capturing process to hear the detail of each stage of the work.

“Things which we inherit via conversation and memory are rarely static; they shift and decay whilst retaining varying fragments of truth.”

For this work, inspired by Alvin Lucier’s I Am Sitting In A Room, Oliver Payne recorded a selection of people describing a significant memory, specifically memories which relate to a person or place. These spoken narratives were then edited through several stages of live recapturing in the places and spaces described in the participant’s memories. In the process, much of the recognisable words were lost, what we hear is the resonant qualities of the spaces themselves, like shadows of the words that were originally spoken.


(Photos coming soon)

Auto-drawing with sound.

Since moving to OUTPOST studios earlier this year I’ve been using sound to make drawings with some really lovely results:

And here is a video of how they are made. This example is a 32Hz pure tone, bike spoke and sand. The drawings simply replace the sand with paper and the spoke with various objects and ink.

Heroes Talk

I supported my good friend Ranieri Spina with his first solo installation at the excellent Firstsite, Colchester as part of the We; You, Me exhibition that ran from 13 October to 16 November 2017.

Ranieri’s piece ‘Heroes Talk’ was a playful look at the role of the artist shown through a series of constructed and carefully composed components made entirely from toys.

Ranieri and I played the toys along with some guitar and other objects on the opening of the event; the recording of our performance was then played back throughout the rest of the run and accompanied the table of toys and objects, which was perfectly preserved from the performance.

Surface Microphone MkI

I’ve built a stereo surface mic to be used for performance at ‘Hero’s Talk’, my collaboration with guitarist Ranieri Spina as part of the We:Me, You show at Firstsite Colchester.

This mic has two piezo elements with preamps and left/right volume control. It also has a sleeve which can contain objects on the surface.



For the last three months visual artist, Will Hurt and I have participated in the Collusion R&D challenge, to create new audio visual work for several Panasonic PT-EX16K projectors, to be projected in various locations around Kings Lynn.

On the weekend of 29th September our work was presented alongside three other teams. Our project, ASSEMBLE, was a three player audio visual sequencer using the architecture of local buildings and sounds collected from those buildings. The sequencer behaved like a game in that each layer of sound could be processed creating either synchronised sounds and rhythmic patterns or something far more abstract.

This concise video describes it in a little more detail:


Music for 200 Leaves

I wrote a short piece to be performed at a Plank session, which can be heard here alongside the score and a photo taken after the performance.