( Artist Statement )

As a research-led artist, I delve into the realms of hybridity, rhythm, and psychogeography in response to cultural and social migration, with a deep commitment to unravelling personal and collective histories. My practice exists at the intersections of sound, sculpture, installation, and moving image.

My current focus is a expanding questions of continuity and rupture by utilising tools of sound and 16mm film to explore concepts of nationality, distribution, and, ultimately, a sense of belonging. I reflect on personal and collective histories that enable me to pivot around my origins of Welsh and Algerian descent, considering how positionality continually affects how we relate to the past, see ourselves in the present, and move forward. In the past, I have embarked on projects involving the retracing of free speech movements, the exploration of survival tactics and rituals, and examinations of how to navigate and occupy public spaces as strategies for subverting economic and environmental precarity.

Sonically, beginnings emerge through experimental, improvisational practices utilising sampling, electronics, musique concrète, and analogue archives. I employ layered audio materials to create alternate possibilities, reclaim parallel histories, and reimagine the connections between them. These processes are inspired by pioneering figures such as Nicolas Collins, the BBC Radiophonic Workshop, and Éliane Radigue. In 2023, I received an Oram Award, a platform that elevates the work and voices of women and gender non-conforming artists innovating in sound, music, and related technology. The award is named after Daphne Oram, one of the founding directors of the BBC Radiophonic Workshop.

Notable sonic presentations have taken place at events such as Caerleon Amphitheatre with Artes Mundi and the National Roman Legion Museum; Arts Council Wales – Amgueddfa Cymru; SAVVY Contemporary with Archive Sites in Berlin; New Radicalisms; (A)WAKE in Rotterdam; Counterflows, Glasgow; Tate Lates at Tate Modern; Cafe OTO; REWIRE Festival; and the Glasgow Film Festival at Tramway for This Is Now: Film and Video after Punk. Additionally, I engage in an ever-evolving collaborative project, Re-Imagining In Conversation, alongside artist Shamica Ruddock. Together, we have undertaken a fellowship at Akademie Schloss Digital Solitude × Liquid Architecture, working towards Re-Imagining In Conversation: A New Poetics. We have contributed texts to Un-Projects, including Speculation Is the Vehicle, and are residents at Wysing Arts Centre, Cambridge (2024–2026). Our collaboration continues to evolve through text, live performance, and recorded media. In other pursuits, I have released work under various aliases and in collaboration on Optimo Music, Weaponise Your Sound, and Artes Mundi.

As an autodidactic sound practitioner, I also contribute sound design to artists’ moving image works and films, including In Praise of Slowness (2023), directed by Hicham Gardaf; Comfort (2023), directed by Daisy Smith; and The Flowers Stand Silently, Witnessing (2024), directed by Theo Panagopoulos.

I hold a BA (Hons) in Sculpture and Environmental Art from the Glasgow School of Art, where I am a visiting lecturer (2023–present). From 2020–21, I was an Artist Associate at Open School East.

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