My research is practice-led, situated at the intersection of sonic art, interactive technology, and community-engaged artistic practice. I investigate how sound and invented technologies can be used to create inclusive public spaces, foster belonging, and challenge who gets to participate in art and civic life. Central to this work is a commitment to accessibility and the social model of disability, developed through co-creative and participatory methodologies that treat creative practice itself as a mode of inquiry.

A key strand of my research explores the invention of sound technologies and interactive sculptures; objects and systems that often originate within my independent fine art practice before scaling into permanent, large-scale installations for civic and cultural institutions. Current projects include EverSong, an acousmatic vocal work in which the a singer's voice ages in real time; a series of musical toilets and urinal installations that reframe an everyday bodily act as a collective musical one; ecological earpieces that use no mains power to bridge the acoustic impedance gap between air and water, enabling listeners to hear underwater soundscapes directly; and a rain-played musical pavilion for a public park in Stevenage, inspired by the sound of biomass. I am also developing a large-scale textile and sound work, touring a flag sewn from decommissioned England flags removed during a period of flag-flying disputes, reworked with community-contributed stories of culture and belonging, and accompanied by a new film.

My research typically results in permanent civic installations, sound-based artworks, exhibitions, and conference contributions, as well as collaborations with architects, local authorities, and cultural institutions. Recent examples include the UK's first fully SEND-inclusive library space (Haydock Library, with St Helens Council in Merseyside, and the Listening Desk (British Library), a sound-technology invention now permanently installed across ten national institutions including the British Library.

My broader research interests include: sonic art and sound installation; electronic music composition and live electronics; field recording and site-specific practice; community-engaged and participatory arts; interactive and immersive installation; sound and place; public art and non-traditional performance venues; AI and technology in artistic practice; and practice research and practice-led methodologies.

I teach within the School of Electronic and Produced Music, where my core teaching areas are Field Recording (including Techniques for Listening and Creating Soundscapes) and Sound Materials, alongside one-to-one supervision of undergraduate and postgraduate students.

My 1-2-1 teaching is centred on students working in Sonic Art, Live Electronics and New Media, but as a composer and general all-rounder I also regularly supervise students in Composition (both classical and electronic), Film and Game Audio, and Production.

My teaching draws directly on my practice as a sound artist and inventor. I teach Logic, Ableton and Max MSP, and bring a strong working knowledge of microprocessors, touch capacitance, and sensor-based systems for triggering sound, developed through my own sensory and interactive installation work.

I am a regular contributor to Group Session projects, and enjoy bringing students into live, professional contexts wherever possible. Students have previously joined me on a Royal Parks commission to create a sound library of the freshwater ecology food chain, from beetles to caddisfly larvae and mayflies, paddling pedalos around Hyde Park's lakes to dip hydrophones into reed beds and capture underwater soundscapes. The resulting work, created collaboratively with students, now features on the Royal Parks website. I also created a Group Session called Sound Materials. Within Sound Materials, I lead students through hands-on, practice-based learning: creating sound walks, building wind instruments from clay, using conductive paint to create touch-capacitance musical works, and designing new electronic instruments.

I teach on Creating, Performing Knowledge (CPK) within Academic Studies, an area I particularly enjoy. This work focuses on making research methods accessible to students with little or no prior grounding in academic enquiry, from identifying the key takeaways of a research paper to assessing sources for reliability and reputability. I enjoy helping students build strong, rigorous foundations for research, especially in support of innovative and experimental creative projects.