sample of my work
Wet Bodies is the wider body of work through which I am developing a practice-based methodology of writing, listening, field recording and performance. Emerging from Wet Diary as a process tool for writing and recording, Recording Wetness and Wet Like are part of this ongoing practice based research.
WET BODIES: Recording Wetness | Wet Like listening installation, 2025-26
Recording Wetness
Photography by: Harry Brayne
Participatory sound exercise with drinking water, tin and contact mic: water is released onto the metal surface and amplified for collective listening.
A collaborative live event and field-research process bringing writing, listening, hydrophone recording and more-than-human attention into direct contact with the river Lea landscape.
I commissioned sound artist George Paris to make a custom hydrophone for the event, allowing participants to listen to underwater vibrations and gather wet sounds from the river environment. The event also involved collaborative writing exercises, contact-mic listening, and embodied responses to water, mud, trees and each other.
The event was curated in dialogue with two invited artists and generated text fragments, field recordings and listening exercises that later fed into Wet Like, a listening installation presented at an art venue in East London.
Through professional documentation I share how my practice moves between participatory writing, sound, ecology, collaboration and installation.
Participants writing outdoors during Recording Wetness, using collaborative exercises to respond to the river landscape.
Listening with a custom hydrophone commissioned from sound artist George Paris, gathering wet sounds and underwater vibrations from the river environment.
Wet Like, listening installation, 2026
Photography: Harry Brayne
Sound composition: George Paris, Milou Stella
St. Margaret’s House, Bethnal Green
Wet Like was a listening installation and participatory performance developed from Recording Wetness, a field-research process exploring rivers, wetness, writing and more-than-human intimacy.
The work brought together live reading, field recordings, hydrophone listening, contact microphones, stones, vessels and collective movement. Audiences were invited to listen, pass materials between them and lie down together, briefly becoming a riverbed.
The project produced several material residues: Wet Diary, a limited edition notebook, the text “How to Be Lichen” published in Inherent Vice n.03 queer zine, and a sound work presented as part of the installation.
Performance reading from Wet Diary, bringing field notes, wet sounds and river objects into the installation space.
Artist handling stones used as part of the performance score, where objects gathered from the river environment became prompts for reading, listening and exchange.
Stones were held, passed and listened to as part of the performance score, carrying fragments from the river into the installation space.
Participants lying together as a temporary riverbed, translating the research into a collective listening and bodily score.
Wet Like, sound extract, 1 min 30 sec.
An excerpt from a sound work developed through field recording, hydrophone listening and performative writing, exploring wetness as a site of intimacy, attunement and more-than-human relation.
Wet Bodies: Documents, Scores and Publications
A limited edition notebook produced from the visual language of Wet Like, turning the installation into a portable residue for future writing.
Speculative documents / Wet Diary residues,
Typed letters, invitations, certificates and fragments developed through the Wet Bodies research process.
“How to Be Lichen”, a text from Wet Diary, published in Inherent Vice n.3, extending the project’s research into independent queer publishing.