My future aspirations and how they have been shaped by the course, work experience, and other key influences on my practice

I am very thankful to have had the opportunity to study sound art at LCC. The course has really opened my academic and sonic mind to so much. Throughout my time at LCC I have been taught by such amazing people. I am most grateful to Matthaius Kispert, Gareth Mitchell and Mark Peter Wright for making me see so much beyond sound. Each lecturer gave me the opportunity and the tools to explore the ideas and concepts that I have been most interested in.

Throughout my time studying at LCC it became apparent that I was headed for a future in ecological sound. From my time researching and growing my knowledge about sonic practices I have found myself landing repeatedly on the thought of becoming an acoustic environmental ecologist. For me this would make a lot of sense. I love sound and I’m most fascinated by the more-than-human. A future that includes both, I think, is inevitable.

From my work experience so far, I have gained skills in communication, organisation and a general understanding of how things run. My time working as a set designer has directly informed my practice as for my Gallery 46 exhibition, I utilized those set skills to create my own instillation. When I have had the opportunity so far to work on ecological or ‘nature’ based sets I have had the chance to forage and work with the seasons, for example the set I did for Mushroom and Plant Music in 360 at Earth in Hackney in 2024 for Green Art Department, I was able to forage all of my items needed for the set per the request of the charity we were working with to make the set as sustainable as we could. My weekly volunteering for Energy Garden in my local community has been incredibly informing to my practice. It led me to include soil recordings I did from the community garden into a project for university last year called ‘The Sound of Quality’, where I was interested in understanding what healthy and unhealth soil sounded like from different areas of the country. From this, I then submitted my work into a soil exhibition at Braziers Park, just outside of London but unfortunately did not get the opportunity to show the work.

From my time spent working on club doors I was introduced to a wide range of genres, people and sets. Much like my times working at festivals where I was able to create connections and network for more opportunities. I managed to surround myself with so many creatives that I admire, respect and someday would love to work with. All these different work experiences have all pushed me towards becoming an acoustic environmental ecologist.

To credit some of my key influences and describe how they also have shaped me into the practitioner I am today. I am thankful for David Abram for opening my mind to the more-than-human, Robin Wall Kimmerer for her books braiding sweetgrass and gathering moss, in which guided me towards an understanding of stewardship with the land, Glennie Kindred who’s books about paganism and trees helped me to know how to work with the more-than-human from a paganists understanding, Pauline Oliveros who educated me on the non-existent boundaries of what the sonic means and the influence that I am most grateful for is Mark Peter Wright, as without his book Listening after Nature I may had never found the answers to so many of my questions.