I am a sound artist, musician, sound engineer, and educator living in Toronto, Ontario (traditional territories of the Anishinaabe, Haudenosaunee, Huron-wendat and, most recently, Mississaugas of the New Credit).


Decriminalised Futures Exhibition at the Institute for Contemporary Arts (ICA) London until May 22, 2022
I created compositions for 9 talks (+ 4 co-composed with Anita Castelino) as a part of A Decriminalised Future: Sex Workers’ Festival of Resistance. It is now being exhibited at the ICA and online. The panel discussions cross a wide range of topics that impact on sex workers and that connect and intersect with sex worker rights organising and broader struggles for justice.

Old News:

I am guiding a soundwalk along with Hildegard Westerkamp as part of her week of events in Tkaranto. Friday, 17 January 2020 – 1:00pm meeting at the Jackman Humanities Building, main lobby, 170 St George St.

In a Queer Time and Space is a new work-in-progress encompassing the impermanence and fluidity of queer geographies, the sounds of multiple voices, places, histories, and memories folding in on each other.

BetOnest Arts Space

Conversations with members of London’s queer community (featuring Anita Castelino, Nazmia Jamal, Sita Balani, Sib Trigg, Caoimhe Mader McGuiness, Jay Bernard, Victor Grayson, Morag Forbes, Nicole Emmenegger, Red Chidgey, and Colette Rosa) were played and re-recorded into the cavernous buildings of a still operational cement factory-cum-art center in East Germany, taking on the resonant and reverberant layers of the industrial architecture. This occurred during the Murmurs sound arts residency for women and LGBTQI people during which these and many other recordings were made using surround and extended techniques, recording the walls and surfaces of the cement factory, art centre, as well as the queer collective living and creative activities being produced.

In a Queer Time and Space is the collective sonic embodiment of communities; individuals; and the work’s composer, rejecting the hierarchies of objective observer and distanced subject. The audience participates in this queer space by entering the sites of recording through the work’s playback in ambisonic technology, offering a 360° 3D sound experience.

I would like to thank the people above for their friendship, love and affinity over the years; as well as Coral Short and Murmurs organizers: Alex Tsoli, Jean P’ark, and Winnie Superhova for their support and organizing the residency that inspired the project; Yoav Admoni for Betonest and allowing me free reign of the space; John Drever and the EMS of Goldsmiths, University of London for the equipment loan; Jez Riley French for recording advice; Miriam Schickler for affinity and recording assistance; Nick Schefter for studio equipment assistance, and special thanks to everyone who created such a special space at Murmurs: Gaby, Luiza, Sophie, Maya, Lulu, Lori, Pêdra, Zinzi, Lisa, Johnny, Miriam, Vincent, Merve, Lyd, Mika, G, Henry, Neo, Ze, Aisha, Alex Alvina, Hannah, Antigoni, Lydia, and Ryan.


I am pleased to present my new work, In A Queer Time and Space at NAISA (New Adventures in Sound Art) this August 2018.


I have had the absolute pleasure to attend the Murmurs Sound Arts Residency (for women and LGBTQI people) in August 2017 at the unforgettable BetOnest Arts Space in Brandenburg, east Germany.  I will be composing work in ambisonics from the material I recorded at Betonest early in 2018.


See the new documentation of my composition, And They’d Pass Through London Fields, for Kaffe Matthews’ Sonic Bikes here.


I will be diffusing my 8-channel soundscape composition Elephant Endangered at an evening concert at Goldsmiths University on Tuesday 17 January 2017 at 7pm.