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 few of years sound has become a key element in my practice. I am making music under the name Kim[bal], developing live experimental performance and thinking about how I can 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, and I wanted to see how I could use recordings of everyday sounds as a raw material, as if they were the pigment in paint, to play the rhythms and melodies that I could hear inside my head. I am interested in the notion that a piece of music can be considered ‘site-specific’, both in the sense of inspired by being somewhere, but also literally made of a place.