I work with sound, my voice and my body. I am a composer, singer, physical performer and actor, who also plays the violin. I make theatre, work with text and use colours and images to inform my thinking.

A statement

My work is sustained by the knowledge that things appearing to be unconnected can always be revealed to have unexpected and intriguing correlations. By weighing up components—parsing, teasing, and reconfiguring them—processes can be illuminated and relationships cultivated. My work engages with the world by traversing states of vulnerability, intimacy, playfulness, and humour. By mapping invisible cities, constructing mazes, and conjuring up magic squares, I create landscapes in which these states can thrive. These are domains in which I can play with concepts and experiences of space and time by exploring forces at work in the body, in the voice, in words, sounds, images, and environments. It is here that I can ask questions about how we, as entities on this earth, can be alone and how we can be together.


A story

I was born in Glasgow to a family that was Scottish, English, Polish, and Welsh—with my Irish relatives just two generations away. I grew up in the southwest of England with a name that set me apart as both a little odd and very Welsh. The first was something I grew to nurture and appreciate. The second was not true and left me feeling that identity was a slippery thing. In the end, this was also something I grew to appreciate and to understand as important for my work.

Bristol, where I spent my childhood, is a city on the edge of a gorge—a channel cut through rock, at the bottom of which a muddy river snakes. Suspended across the Avon, Isambard Kingdom Brunel’s handsome bridge was an escape to the woodland beyond. 

I remember Bristol as a city of panoramas and perspectives. A place of tree-lined avenues, rickety backstreets, and hills down which houses tumbled into the waters below. I remember hot air balloons drifting overhead, landing in our gardens, school grounds, and sometimes getting stuck in trees. I remember endless rain and sunlight breaking through the clouds. In many ways, Bristol is a lot like Bergen—the city in Norway where I now live. 

Many things have changed, and many remain the same. I see more rainbows now than I did then. I see mushrooms in the woods I couldn’t distinguish before. The weather and the skies here are more dramatic, more nuanced, and more unpredictable. The hills have expanded to mountains, and the gorge of my childhood has multiplied to fjords that confound my sense of direction wherever I go. 

Bristol and Bergen are a part of me. Like my family (real or fictional), they have shaped what I do and how I do it. They are places defined by water, by their steep contours, and by unpredictable weather. They share trading histories in which people from all walks of life have mingled over generations. But they are also pockets set apart from the rest of the country, in which language and traditions have evolved at their own pace. 

If it were possible somehow to map my approach to making art, maybe you would end with some kind of weird collage of these two cities combined.


A fictional family

Who I am today is because of my family. But it’s also because of the people listed below (in no particular order). Although I’ve never met most of them (some died long ago), something about what they do or how they do it has been formative for me. I’ve also had the good fortune to work with a great many people who aren’t named here, but whose work has had a lasting impact on my own. This list is a fictional family I’ve created (and constantly recreate) as a way of discovering new approaches to what I do. Thanks to them and to all my family, friends and colleagues.

Buster Keaton | Werner Herzog | Laurie Anderson | Andrew Marvell | John Cage | Willi Ninja | John le Carré | Pina Bausch | György Ligeti | Robert Bresson | Mae West | Samuel Beckett | Elizabeth Streb | Wim Wenders | Ohad Naharin | Caravaggio | Jacques Tati | Charles Baudelaire | Neri Oxman | J.G. Ballard | Kazuo Ohno | Jay Griffiths | Jean-Michel Basquiat | Mosche Feldenkrais | Paul Klee | Paula Rego | Mark E. Smith | Nina Simone | Johannes Vermeer | Dylan Thomas | Sylvie Guillem | Iannis Xenakis | Ted Hughes | Iris Apfel | Demetrio Stratos | Jean Genet | Philip Guston | Deborah Levy


My community

I’ve had the good fortune to collaborate with many wonderful artists and organisations over the years, and they’ve all been important to the development of my work. Here is a list of some (but by no means all!) of those to whom I owe my thanks. 

Adam De La Cour, Alec Hall, Aline Sanchez Bonne, Alistair Zaldua, Alpaca ensemble, Amnon Wolman, Andrea Cavallari, Apartment House, Arditti Quartet, asamisimasa, Athelas Sinfonietta Copenhagen, BBC Scottish Symphony Orchestra, BBC Symphony Orchestra, Bergen Centre for Electronic Arts (BEK), Bergen Dansesenter, BIT20 Ensemble, Bjørnar Habbestad, Claire Zakiewicz, consord ensemble, currentes ensemble, Dan Mihaltianu, Darragh Morgan, David Helbich, Ding Dong, Dominic Murcott, Domizia Tosatto, Edward Kemp, ensemble recherche, Eva Pfitzenmaier, Experimentalstudio des SWR, FAT BATTERY, Fig., Gerhard Staebler, Guido Henneboehl, Hans Knut Sveen, Hollie Harding, Ian Pace, Institute for Electronic Music and Acoustics (IEM),Ilan Volkov, Jonathan Powell, Julia Koch, Karen Nicole Werner, Kjetil Møster, KMD Bergen, Kuljit Bhamra, Kunsu Shim, Langham Research Centre, Linda Hirst, Martin Lindsay, Mikel Toms, Myrtle, NeoQuartet, Nicolas Hodges, Philippine High School for the Arts, Point B Worklodge, POW Ensemble, Red Herring, Roar Sletteland, Rowland Sutherland, Sandra Strunz, Sarah Nicolls, Scènes Théâtre Cinema, Sonar Quartett, Splitter Orchester, STEIM, Stine Janvin Motland, Susanne Zapf, Ted Stoffer, Thorolf Thuestad, Tijs Ham, Veronica Thorseth, Trinity Laban, Trond Lossius, USF AiR, Victoria Johnson, Vinko Globokar, WRAP, Yaniv Cohen, Zubin Kanga


Partners