Creative Architect | Researcher | Transnational Producer

AT the intersection of Sonic Collage, Oceanic Epistemology, and Socially Conscious Pop.

1. Vision: All Our Islands Are Connected

"The ocean precedes the islands. We aren’t separated by water; we are held by it."

I operate as a Creative Architect, redefining the 21st-century "Creative Director-Producer." My work challenges the notion of the "song" as a static file, reimagining it as a fluid, multisensory experience. Through a methodology of Sonic Collage, I navigate the nexus of visual storytelling, social commentary, and interactive performance.

I explore how marginalised narratives and global music can be integrated into high-production environments-from Glastonbury to SXSW-while maintaining their political and cultural bite.

Collaborative Philosophy: The Executive Director Model

My practice is rooted in an autodidact, oceanic epistemology-a framework that prioritizes the connection between "islands" of expertise rather than isolated specialization. I operate on an Executive Director model, where my primary role is the Architect of Synthesis: I curate "collisions" between disparate disciplines, bringing together international music producers, lighting designers, animators, engineers, and activists to realise complex visions. Rather than seeking technical mastery over a single tool, I leverage interdisciplinary literacy to navigate the technical pipelines of film, live performance, and interactive installation. This collaborative logic ensures that even the most high-production commercial environments remain tethered to their cultural and political origins, proving that the most generative territory is always the space between disciplines.

1. Practice: Sonic Collage & Deep Listening

"The work is the thought. A composition is an argument."

My sound practice refuses the hierarchy that ranks making and thinking as separate activities.

• Aural Mapping & Field Recording: Documenting the transition of "global sounds" from local ritual contexts to international festival stages.

• Interactive Synthesis: Developing frameworks for how music composition informs installation architecture and visual direction.

• Collaborative Logic: Utilising an "Executive Director" model where the creative process is a series of curated collisions between film, dance, science, activism, and technology.

2. Pedagogy & Culture Coaching

Music as a Technology of Relation.

As a music educator and Culture Coach, I view song as a tool for crossing difference.

• Intercultural Music Education: Utilising songs in languages from all over the globe (Papiamento, Zulu, Arabic, Portuguese etc) to foster relational literacy.

• The Classroom as Laboratory: Translating complex practice-as-research into pedagogical models that prioritise cultural literacy and songwriting as narrative-building.

• The Executive Director Model of Music-Making:

  For the Classroom: I prepare students for the realities of the 21st-century industry, where success depends on the ability to lead multidisciplinary teams and maintain artistic integrity across complex technical pipelines.

3. CURRENT Research Pillars: Trans-Ecological Epistemologies

My research refuses to use our earth and its inhabitants as conquerable ground. Instead, I follow the water-and the life it sustains-as a refusal of colonial and patriarchal containment.

I. The Four Water Knowledge Systems (Foundational Ontologies)

My practice is informed by four distinct, irreducible frameworks that treat water not as a resource, but as a relative:

• African & Diasporic (Mami Wata): Water as a site of memory and displacement. It holds the "Saltwater Songs" of the Middle Passage-a site where grief and power coexist.

• Andean & Amazonian (Amaru): Water as cosmic continuity. The great serpent whose body links the high mountains (the source) to the deep jungle (the mouth), refusing to separate sky, earth, and river.

• Pacific Indigenous (Hauʻofa/Teaiwa): The ocean as a primary world. Against colonial "small island" mappings, this framework asserts oceanic sovereignty and vast interconnectedness.

• Japanese Animism (Yaoyorozu no Kami): Water as an inhabited presence. The connective force of Musubi binds water, time, and spirit into a single perceptual infrastructure.

II. Animism as Methodology: From Extraction to Co-Composition

I treat animism as an epistemological stance. The colonial-capitalist project depends on "disenchantment"-the idea that the mountain, the jungle, and the animal are "dead" matter to be extracted. My research asks:

• How can we compose with the more-than-human? Treating rainfall, animal calls, and wind as co-composers rather than "background texture."

• Art as Multispecies Justice: Using interdisciplinary art to advocate for ecosystems, moving from technical proficiency to ethical relation.

III. The Feminine, the Queer, and the "Body of Water"

The colonisation of nature and the colonisation of the feminine aren’t parallel projects; they are the same project. The patriarchy classifies both women’s bodies and the natural world as "wild" spaces to be tamed, mapped, and harvested.

• Living Archives: My work focuses on the women who tend the shorelines and the jungle edges. Their ritual performances are not "tradition"; they are rigorous, embodied ecological archives that encode how to survive without destroying.

• Queer Currents: To think with water is to think queerly. It is a refusal of fixed borders, binary categories, and state-sanctioned belonging. My work embraces the "oceanic" as a queer principle: connection across difference without the demand for assimilation.

IV. The Jungle and the Mountain: The Verticality of Memory

Moving beyond the shoreline, my research extends into the high-altitude and deep-canopy ecologies.

• The Jungle as Sonic Resistance: The dense, "noisy" biodiversity of the jungle is a direct counter-narrative to the sterile, monocultures of industrial capitalism.

• The Mountain as Ancestral Spine: Using field recordings to explore how sound travels through deep time and geological memory.

4. Long-Term Projects

Body of Water

A research project exploring women’s ritual performance as ecological knowledge. It asks: What do we call to when we call to water? And whose voice has always known the answer?

All Our Islands Are Connected by the Ocean

An oceanic framework for kinship. It applies queer and decolonial principles to connection across difference, treating each site as an irreducible node held by the same water.

5. Industry & Global Presence

Selected Dissemination Sites: Glastonbury (UK) • Sónar (ES) • SXSW (USA) • ADE (NL) • Southern Africa • Latin America • The Caribbean.

"The medium is always determined by the question. The question always returns to the body, the water, and what has been made too quiet to hear."