Composing

I’m interested in how different ways of making can speak to each other, both by working with diverse people and by experimenting across methods in my own practice. My art indulges affections for the natural world – particularly Australian wildlife, as well as unique places discovered along my travels. I’m also attracted to ideas of ordinariness – in finding beauty within simple and everyday things. I enjoy process- and materials-led approaches to making, and presenting my art in ways that foster comfortable and grounded performance/listening cultures.

A feature of my composition work is notation; I explore the score as both a guide to musical activity and as a visual artform in its own right. These scores reflect my passion for collaborative and interdisciplinary art making, folding together techniques I’ve picked up from working with visual artists, architects, dancers, cultural practitioners, and filmmakers. Through this medium, I explore more personal and intuitive methods of communication, decolonising forms within the classical space, exciting new visual and interactive dimensions to play with, and ways to enhance the performer and audience experience.

Performing and Sound-Art

Free-play is important for me, both within my compositions and as an independent musical activity. I also enjoy field recording and exploring found sound, collaborating with the environment or place of performance, developing a multi-instrumental practice, and exploring new technical approaches towards my own instruments. Besides composing, I make music through acoustic and electro-acoustic improvisation, making sound collages, experimental gallery installations, and cross-practice collaborative works.

Indigenous Australian art has a deep influence on my philosophy and approach towards music-making. My education has been shaped by Ballardong Noongar, Whadjuk Noongar, Djab Wurrung, Gunditj Mara, Ngarrindjeri, and Wägilak Yolŋu knowlages, among others. A core part of my participation in culture has been through mentored sessions and performances with traditional Yidaki players, centred on learning to speak the Yidaki’s instrumental language through my own instrument- the trombone. Most recently, this work has been in collaboration with Amos Roach, performing with his Six Seasons Orchestra and the Murrundaya Yepengna Dance Troupe. You can find videos here.

This practice was also developed through my honours research thesis on intercultural ethics at the University of Melbourne.

Background and Past Work

I studied composition at the University of Western Australia under James Ledger, and at the University of Melbourne under Elliott Gyger. I’ve also completed artist development programs with the Australian Youth Orchestra, Western Australian Symphony Orchestra, Speak Percussion and Chamber Made, Fairbanks Summer Arts Festival, and the Australian Art Orchestra.

Some of my past work includes artist residencies with Muijala (Finland), Saruya (Japan), Bundanon (NSW), and PICA (WA); installations with FORM Gallery, Curtin Gallery, and Sarah Scouts Presents; composing in the Alaskan wilderness; an art-film project in Amsterdam; and I’ve directed my own productions with the Blue Room Theatre, KickstArt Festival, and the Lawrence Wilson Art Gallery.

Some awards I’ve received include the Schenberg Music Fellowship, Marshall McGuire Emerging Composer Fellowship, the West Australian Symphony Orchestra’s Bendat Scholarship, and the Dorothy Ellen Ransom Prize for Composition.

2026 Activities

○ Sound installation with Maalla Taidefestivaali (Finland, August).

○ Artist in residence with Taidetila Muijala (Finland, May-June).

○ Ensemble Offspring’s Hatched Composer Academy (Sydney, November 21).

○ Speak Percussion’s Bespoke Artist Program (Melbourne, 2026-2027).

○ Chamber Made & Speak Percussion’s Test Flight (Melbourne, April 18).