I have always enjoyed playing with sounds, harmonising my voice with the microwave, tapping out rhythms on the table and beatboxing to myself when no one was around. I used to take a harmonica with me whenever I went travelling somewhere, and whenever I felt confident enough, I would get it out and play. Over the over the last couple of years I have become increasingly interested in working with sound, both in terms of making music as well as thinking about how I could incorporate sound into my visual art practice.

I was curious to explore mixing and layering sounds in a similar way to how I mix and layer paint. I wanted to use recordings of everyday sounds as a raw material, as if they were the pigment in a paint, to play the rhythms and melodies that I could hear inside my head. I have started making music from modified field recordings, producing under the name Kim[bal]. I like using samples of sounds and transforming them into other sounds. Birdsong to baseline, a bottle of water into a gong, clicks and pops to rhythmic patterns. I am interested in the notion that a piece of music could be considered ‘site-specific’, both in the sense of inspired by being somewhere, but also literally made of a place.