Bio
I am a multi-disciplinary artist, founder of Lamplight Forest, currently creating the revolutionary performance game Pallas of Vines and completing a PhD in game-design-for-live-performance.
I've been making games, music and art since 2000, during this time I've developed several experimental and performance-based video games, released a handful of albums of electronic music, held numerous visual art exhibitions, developed multimedia artworks, held experimental electronic music performances and developed software instruments for electronic improvisation.
I'm currently working with a synthesis of video games, music, visual arts and narrative to create instruments, compositions, and modes of interactive storytelling in which the music, visuals and story can be manipulated by the player – seeking to empower co-creative play through games for live performance.
History of Games
Pallas of Vines (WIP)
A musical adventure and revolutionary performance game exploring shared identities and nested worlds.
Chameleon Wake (2014)
A hybrid game/composition/score commissioned by the Zephyr Quartet. Acoustic performers read the game's dynamic visual panorama as a graphic score, while also improvising to the game's internal interactive musical soundscapes.
History of Music
Crescent Rain (2013)
A triple-album of long-form panoramic electronic sample-based improvisations created out of the In Sound Surrounds journeys around Australia. All performed and created with my own custom software.
In Sound Surrounds (2013)
A creative and research project focused on laptop improvisation in conscious presence and physical space, during travels around Australia. The blog documents the journey in detail.
Streamland (2012)
A sampling and improvisation project, where I record solo performers improvising, then use those recordings as samples for my own laptop improvisations. The Streamland blog documents the journey in detail.
A Child's Haiku in Bended Light (2012)
A micro-EP of three short sample-based pieces of vibraphone and manipulated recordings of extended-technique-saxophone. Each piece has an accompanying still image, inviting the viewer to absorb the image for the song's duration.
The Forest in the Clock (2009)
A varied rhythmic and sometimes ambient work. It contains more natural colour schemes than Earthbound, and is at times both a more richly concentrated vision and a more tangential journey. Individually, the works were not conceived of as part of an album, but when I brought them together, they revealed a flowing representation of the spirit of that time in my life.
Earthbound (2008)
With my first solo album I presented a series of panoramas that told stories through a contrasting of natural and otherworldly environments. This was the start of my synaesthetic storytelling journey, where I was able to express colour in a way that tells the kind of stories I'm passionate about.
I've been making games, music and art since 2000, during this time I've developed several experimental and performance-based video games, released a handful of albums of electronic music, held numerous visual art exhibitions, developed multimedia artworks, held experimental electronic music performances and developed software instruments for electronic improvisation.
I'm currently working with a synthesis of video games, music, visual arts and narrative to create instruments, compositions, and modes of interactive storytelling in which the music, visuals and story can be manipulated by the player – seeking to empower co-creative play through games for live performance.
History of Games
Pallas of Vines (WIP)
A musical adventure and revolutionary performance game exploring shared identities and nested worlds.
Chameleon Wake (2014)
A hybrid game/composition/score commissioned by the Zephyr Quartet. Acoustic performers read the game's dynamic visual panorama as a graphic score, while also improvising to the game's internal interactive musical soundscapes.
History of Music
Crescent Rain (2013)
A triple-album of long-form panoramic electronic sample-based improvisations created out of the In Sound Surrounds journeys around Australia. All performed and created with my own custom software.
In Sound Surrounds (2013)
A creative and research project focused on laptop improvisation in conscious presence and physical space, during travels around Australia. The blog documents the journey in detail.
Streamland (2012)
A sampling and improvisation project, where I record solo performers improvising, then use those recordings as samples for my own laptop improvisations. The Streamland blog documents the journey in detail.
A Child's Haiku in Bended Light (2012)
A micro-EP of three short sample-based pieces of vibraphone and manipulated recordings of extended-technique-saxophone. Each piece has an accompanying still image, inviting the viewer to absorb the image for the song's duration.
The Forest in the Clock (2009)
A varied rhythmic and sometimes ambient work. It contains more natural colour schemes than Earthbound, and is at times both a more richly concentrated vision and a more tangential journey. Individually, the works were not conceived of as part of an album, but when I brought them together, they revealed a flowing representation of the spirit of that time in my life.
Earthbound (2008)
With my first solo album I presented a series of panoramas that told stories through a contrasting of natural and otherworldly environments. This was the start of my synaesthetic storytelling journey, where I was able to express colour in a way that tells the kind of stories I'm passionate about.