as of yet untitled

as of yet untitled microphones (x4) loudpsakers (x4) sound, 2020

‘as of yet untitled’ is an installation which utilises the ambience of its exhibiting space as a tool to coerce participants into a state of listening / present moment focus.

The work is comprised of four microphones and four loudspeakers. Each microphone records the ambience of each day onto disk which is then played back, through its corresponding speaker the day following. The process then repeats resulting in a layering of successive ambiences and a present day soundscape that contains ( audibly ) the soundscapes of all the days prior.

Nothing is lost.

Through the severance of a sound from its source it ( the sound ) is granted objecthood; no longer just a product of some-thing in the physical, the sound anachronized is an object in its own right.                                                                                                                                                                                                                       This act of temporal displacement along with the mild qualitative abstraction that occurs through the process of recording / resounding alters the mundane rendering it other to the everyday. This process makes one attend to the sounds / moments which during their time were both negligible and unattended and births a reactivation of dormant experience.


excerpts taken from  the piece’s running at the birmingham bike foundry during the Ten Acres of Sound festival. They present, from each microphone / speaker correlation (a,b,c and d; listed in that order) 4:20pm of the period elapsing 18.09.29  to 11.10.20        


untitled (mobile piece)

document imagedocument image 2untitled (mobile piece) baby monitor pairs (x3), radio, fm transmitter, amplification, text, 2016

My parents sang me Ella Fitzegerald in order to get me to sleep. Her song ‘paper moon’ is tied to a vivid memory I have of my infant self being laid to rest when I wanted nothing more than to play outside.

In ‘Untitled (mobile)’ my past relationship to sleep is coupled with my present one; blighted by periods of insomnia, periods where one wants nothing more than to sleep but can’t.

Vicious cycles of thought evolve out of hypothetical anxiety: “I become anxious at the prospect of becoming too anxious to sleep” which then, in a paradoxical/self-generative fashion actualises itself in physical symptoms.

The song is broadcast via a transmitter and played through a radio which sits amidst a hanging mobile of baby monitors; suspended and slowly pirouetting around their axis, indeterminately disrupting the transmission and forming feedback loops when a corresponding microphone/transmitter pair are in close proximity. The result is an anxious experience resting (or not) somewhere between nightmare and nostalgia.



Based upon instances of Satori as brought about by subjection to a Koan, ‘wwibliyw’ is a collection of spontaneous responses given by a pool of naïve interviewees upon being confronted with an existential paradox.

The immediate nature of the inquisition draws out an unconscious and potent statement of being.

                                                       wwibliyw HD video (16:07), 2016                                                                 


presence (not present)


  presence (not present) cassette players (x30) sound (∞ or there abouts), 2015                                                         

‘Presence (not present)’ is an environmental sound sculpture sculpted from musical sound that explores the inner space experienced in practices such as meditation.

The piece consists of a drone based sonic atmosphere (composed in the key of D to one up Terry Riley) which is being invoked from a grid of 30 C46 cassette tapes. The effect is a cloud of harmony that the auditor can perceptually alter by navigating themselves to a different physical location within it.

Instructions being left to both patrons and invigilators to “please turn tape over when side has finished” guarantee that none of the 30 components will be playing at the same position within the composition any time after the initial sounding. The atmosphere is subject to an evolution and decomposition over its course making the resultant experience one of an immersive, interactive, constantly shifting and indeterminate sonic landscape.

stereo image of the piece’s running at the aerbyte gallery . please note that this does not at all give an accurate impression of the experience of being within the piece


zettai mu

A photoseries exploring negative space; ‘Zettai Mu’ focuses the lens of a large format camera on the microscopic head of a pin to facilitate the creation of a chance, abstract image that comes into blossom out of the negative space around it.

Both the process and the resultant images function as an analogy of the meditative process; the pin heads take on the role of objects of ‘ma’; microscopic elements of the positive which when focused upon allow for the nothing (‘mu’) which surrounds them to become engaging abstract forms in the same way that the meditative process grants access to void through the focusing of the mind on a positive element that is insignificant like the binary of the breath.

zettai mu  4″ x 5″ silver gelatine prints (x7), 2015                                     



sits speakers (x6), radio, fm tansmitters (x3) sound (6:30 / ∞), 2019


sits is a dynamic / interactive installation piece exploring the relationship / distance ( lack of ) between the one and other / self and nature ( natural process ).

It consists of a composition of radio static sounding across six channels which expands upon an earlier arrived notion of a fake field recording of the sea. The speakers are arranged in an imperfect semi-circle to mimic a coastline In their midst is my radio ( the initial source of the sound coming from the speakers ) with a vocal piece faintly emerging from it.

The the vocal piece is divided into three parts with each playing simultaneously. Each part is being transmitted on the same frequency ( 98fm ) by a transmitter and these are placed equidistant from the radio ( one either side and one behind ). Only one of these transmissions sounds through the speaker at any one time, which it does enshrouded in the burbling shrieks and swathes of static that occur as the transmissions interfere with one another. At times the interference completely eclipses the transmission( s ). At times it doesn’t. Oftentimes it’s hard to know what is the signal and what is the interference.

If an auditor ( maybe trying to make out what is singing through the box ) repositions themselves they ( or rather their skull ) acts as a relay for a transmission resulting in a new transmission ( arrangement of transmissions / arrangement of interferences / arrangement of transmissions and interferences intermingled ) to sound through the radio. The voice becomes a dynamic and responsive object and oftentimes moving closer to the radio will make the transmission one intends to audit shy further away.


fake field recording of the sea

radio transmission demonstration



chase coley & pascal colman

free improvised music / performance project

excerpt from live performance at the lewisham arthouse

link to stream of upcoming album to be released 04/12/20 (please don’t share)

EP released 20/10/2019

short documentary film on the project by chase lynn


live performance at the biscuit factory



free improvised music / movement project

nearly finished version of upcoming performance film (please don’t share)

album released 18/05/2018

excerpt from live performance



writing practice


chapel street bookshop


what it feels like when i improvise


good lord