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late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x

Meet our next TAiR artist ▸ Nadeem Tiafau Eshraghi, joining us May 3-18.
 
Nadeem Tiafau Eshraghi (Tagata Sāmoa, Persian) is an artist and arts worker living and working between Naarm, Meanjin and Samoa. Their creative practice delves into cultural knowledge and memory to navigate the nuanced modes and mutations amongst diaspora. Through sound, body and space, they mark rituals of time, memory and distance, distilling personal and collective experiences into living, reflective archives.
 
Nadeem aims to engage deeper states of environmental listening and attunement. By creating and implementing a number of improvised sounding machines in differing conditions, they will capture and translate the natural forces and inhabitants of the red centre. Witnessing, observing, and giving attention to the rhythms and textures both in, and beyond our human hearing ranges. 

Additionally, in metabolising collective grief and evolving collapse, Nadeem would like to create a dialogue between these living environments, and geopolitical doom scroll spectacles. 

This is an expansion of more recent performance practices, which have given space to navigate different memories and cultural experiences through improvisation, however in this case, Nadeem hopes the environment takes the body’s place.

A very warm welcome to Nadeem! 💫

Meet our next TAiR artist ▸ Nadeem Tiafau Eshraghi, joining us May 3-18.
 
Nadeem Tiafau Eshraghi (Tagata Sāmoa, Persian) is an artist and arts worker living and working between Naarm, Meanjin and Samoa. Their creative practice delves into cultural knowledge and memory to navigate the nuanced modes and mutations amongst diaspora. Through sound, body and space, they mark rituals of time, memory and distance, distilling personal and collective experiences into living, reflective archives.
 
Nadeem aims to engage deeper states of environmental listening and attunement. By creating and implementing a number of improvised sounding machines in differing conditions, they will capture and translate the natural forces and inhabitants of the red centre. Witnessing, observing, and giving attention to the rhythms and textures both in, and beyond our human hearing ranges. 

Additionally, in metabolising collective grief and evolving collapse, Nadeem would like to create a dialogue between these living environments, and geopolitical doom scroll spectacles. 

This is an expansion of more recent performance practices, which have given space to navigate different memories and cultural experiences through improvisation, however in this case, Nadeem hopes the environment takes the body’s place.

A very warm welcome to Nadeem! 💫

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me

Inter.Sonix 07: Jules Reidy, Jean-Philippe Gross (FRA), Enter

8pm, Friday 23 January
The Grace Darling, Collingwood
🎟️ Tickets on sale now via link in bio
______________

In Inter.Sonix 07, Liquid Architecture presents three artists exploring sound as structure, texture and visceral experience.

Jules Reidy reimagines the guitar through alternate tunings, microtonal harmony and melodic fragments, creating music that feels both intimate and expansive, shaped by folk, minimalism and song.

Jean-Philippe Gross works with feedback systems and modular electronics, treating sound as a physical force and focusing on rupture, grain and timbral detail through direct performance.

Enter, (Nadeem Tiafau Eshraghi) brings sound, image and space together to mark rituals of memory and displacement, distilling personal and collective experience into focused, reflective works that function as living archives.

@jules_reidy
@jeanphilippe_gross
@enter__other
@thegracedarling

Jean-Philippe Gross appears courtesy of support from Rise / La Muse en Circuit - Musica, and La Spedidam.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

Inter.Sonix 07: Jules Reidy, Jean-Philippe Gross (FRA), Enter

8pm, Friday 23 January
The Grace Darling, Collingwood
🎟️ Tickets on sale now via link in bio
______________

In Inter.Sonix 07, Liquid Architecture presents three artists exploring sound as structure, texture and visceral experience.

Jules Reidy reimagines the guitar through alternate tunings, microtonal harmony and melodic fragments, creating music that feels both intimate and expansive, shaped by folk, minimalism and song.

Jean-Philippe Gross works with feedback systems and modular electronics, treating sound as a physical force and focusing on rupture, grain and timbral detail through direct performance.

Enter, (Nadeem Tiafau Eshraghi) brings sound, image and space together to mark rituals of memory and displacement, distilling personal and collective experience into focused, reflective works that function as living archives.

@jules_reidy
@jeanphilippe_gross
@enter__other
@thegracedarling

Jean-Philippe Gross appears courtesy of support from Rise / La Muse en Circuit - Musica, and La Spedidam.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

Inter.Sonix 07: Jules Reidy, Jean-Philippe Gross (FRA), Enter

8pm, Friday 23 January
The Grace Darling, Collingwood
🎟️ Tickets on sale now via link in bio
______________

In Inter.Sonix 07, Liquid Architecture presents three artists exploring sound as structure, texture and visceral experience.

Jules Reidy reimagines the guitar through alternate tunings, microtonal harmony and melodic fragments, creating music that feels both intimate and expansive, shaped by folk, minimalism and song.

Jean-Philippe Gross works with feedback systems and modular electronics, treating sound as a physical force and focusing on rupture, grain and timbral detail through direct performance.

Enter, (Nadeem Tiafau Eshraghi) brings sound, image and space together to mark rituals of memory and displacement, distilling personal and collective experience into focused, reflective works that function as living archives.

@jules_reidy
@jeanphilippe_gross
@enter__other
@thegracedarling

Jean-Philippe Gross appears courtesy of support from Rise / La Muse en Circuit - Musica, and La Spedidam.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

The sound you will hear in Working Class Clown was beautifully crafted by Nadeem Tiafau Eshraghi @enter__other and Ripley Kavara @__lakatoi with additional original guitar compositions from my big brother Michael Misa.

The sound for this show has been channelled from two worlds. the world of myth, formed through field and found recordings of instruments, peoples, practices and environments of the great ocean, of samoa in particular, and diaspora in so called australia. and the world of industry, constructed through live call recordings, motors, grinding mills and safety bollards.

Nadeem and Ripley created these worlds that feel present and ancient, joyful and fracturing - their sonic magic holds meand the audience throughout the show.

Check out their work!

📣 Performance Times
Wed 22 Oct, 6-7.15pm
Thurs 23 Oct, 6-7.15pm (Auslan interpreted)
Fri 24 Oct, 6-7.15pm (Tactile Tour from 5.30-6pm)
Sat 25 Oct, 3-4.15pm
Sun 26 Oct, 2-3.15pm

📍@carriageworks

🎟️ Book now via link in bio

#liveworks

eeeeeeeeeeeeeeeee ~~~ in my performance era ???

16/10 (tomorrow) ~ @liquid_architecture poly-rhythmic #6, curated by @azizisohail at the brunswick mechanics institute ~ amongst beautiful company, conversations, food & sound. will be channeling a portal through time, and of displacement.

24/10 (next fri) ~ ‘thresholds’ at @parramattalanes, curated by @_aakkaa. 30 min consecutive experimental magicks. at this stage it’s drone chai from me !

been thinking a lot about memories, about ice and its storing capacities, and about tea, and it’s connective rituals both experienced, and missed.

will also be catching @tommymisa’s ‘working class clown’ while i’m on gadigal country, at @performancespace liveworks, from 22-26 oct. @__lakatoi and i collaborated on the sound, and i am v excited to see it all come to life ~ it’s a potent offering of grief, joy, crumbling & rebuilding (how v relatable lol) x

( self-portrait in the afternoon rays, house-sitting at nays & lorelle’s )

eeeeeeeeeeeeeeeee ~~~ in my performance era ???

16/10 (tomorrow) ~ @liquid_architecture poly-rhythmic #6, curated by @azizisohail at the brunswick mechanics institute ~ amongst beautiful company, conversations, food & sound. will be channeling a portal through time, and of displacement.

24/10 (next fri) ~ ‘thresholds’ at @parramattalanes, curated by @_aakkaa. 30 min consecutive experimental magicks. at this stage it’s drone chai from me !

been thinking a lot about memories, about ice and its storing capacities, and about tea, and it’s connective rituals both experienced, and missed.

will also be catching @tommymisa’s ‘working class clown’ while i’m on gadigal country, at @performancespace liveworks, from 22-26 oct. @__lakatoi and i collaborated on the sound, and i am v excited to see it all come to life ~ it’s a potent offering of grief, joy, crumbling & rebuilding (how v relatable lol) x

( self-portrait in the afternoon rays, house-sitting at nays & lorelle’s )

eeeeeeeeeeeeeeeee ~~~ in my performance era ???

16/10 (tomorrow) ~ @liquid_architecture poly-rhythmic #6, curated by @azizisohail at the brunswick mechanics institute ~ amongst beautiful company, conversations, food & sound. will be channeling a portal through time, and of displacement.

24/10 (next fri) ~ ‘thresholds’ at @parramattalanes, curated by @_aakkaa. 30 min consecutive experimental magicks. at this stage it’s drone chai from me !

been thinking a lot about memories, about ice and its storing capacities, and about tea, and it’s connective rituals both experienced, and missed.

will also be catching @tommymisa’s ‘working class clown’ while i’m on gadigal country, at @performancespace liveworks, from 22-26 oct. @__lakatoi and i collaborated on the sound, and i am v excited to see it all come to life ~ it’s a potent offering of grief, joy, crumbling & rebuilding (how v relatable lol) x

( self-portrait in the afternoon rays, house-sitting at nays & lorelle’s )

eeeeeeeeeeeeeeeee ~~~ in my performance era ???

16/10 (tomorrow) ~ @liquid_architecture poly-rhythmic #6, curated by @azizisohail at the brunswick mechanics institute ~ amongst beautiful company, conversations, food & sound. will be channeling a portal through time, and of displacement.

24/10 (next fri) ~ ‘thresholds’ at @parramattalanes, curated by @_aakkaa. 30 min consecutive experimental magicks. at this stage it’s drone chai from me !

been thinking a lot about memories, about ice and its storing capacities, and about tea, and it’s connective rituals both experienced, and missed.

will also be catching @tommymisa’s ‘working class clown’ while i’m on gadigal country, at @performancespace liveworks, from 22-26 oct. @__lakatoi and i collaborated on the sound, and i am v excited to see it all come to life ~ it’s a potent offering of grief, joy, crumbling & rebuilding (how v relatable lol) x

( self-portrait in the afternoon rays, house-sitting at nays & lorelle’s )

in the living room light of a fresh day, the next @un_projects edition, guest edited by @lucrecciaquintanilla

ripley and i contributed to this book; some hazed philosophies, processes and speculations of great ocean volumes

tomorrow we enter that state again to launch the compilation of voices, practices and sound at hope st ~

we also just posted the first half of the recording from our last performance (a little red line oops for the first)

all of the sounds in this practice come from a spectrum of diasporic circumstance and genealogical memory; lived, archived, recontextualised and transmutated. deepest gratitude to @auralarchipelago & the archive of māori & pacific sound / @hunisofia for facilitating access to our pasts

bio link to listen if you want, and it starts at 3pm tomorrow :’)

in the living room light of a fresh day, the next @un_projects edition, guest edited by @lucrecciaquintanilla

ripley and i contributed to this book; some hazed philosophies, processes and speculations of great ocean volumes

tomorrow we enter that state again to launch the compilation of voices, practices and sound at hope st ~

we also just posted the first half of the recording from our last performance (a little red line oops for the first)

all of the sounds in this practice come from a spectrum of diasporic circumstance and genealogical memory; lived, archived, recontextualised and transmutated. deepest gratitude to @auralarchipelago & the archive of māori & pacific sound / @hunisofia for facilitating access to our pasts

bio link to listen if you want, and it starts at 3pm tomorrow :’)

in the living room light of a fresh day, the next @un_projects edition, guest edited by @lucrecciaquintanilla

ripley and i contributed to this book; some hazed philosophies, processes and speculations of great ocean volumes

tomorrow we enter that state again to launch the compilation of voices, practices and sound at hope st ~

we also just posted the first half of the recording from our last performance (a little red line oops for the first)

all of the sounds in this practice come from a spectrum of diasporic circumstance and genealogical memory; lived, archived, recontextualised and transmutated. deepest gratitude to @auralarchipelago & the archive of māori & pacific sound / @hunisofia for facilitating access to our pasts

bio link to listen if you want, and it starts at 3pm tomorrow :’)

Presenting ‘Enter’ @enter__other ~ It’s both a title and an open invitation—for the expressive practices of Nadeem Tiafau Eshraghi, and to the frontiers of shared potential 🌊🌊🌊

Nadeem is a Samoan/Iranian artist, designer, DJ and organiser living on Turrbal and Yuggera country, Meanjin/Brisbane. They’ve been actively engaged in community evolutions across a range of music and arts contexts for almost a decade, with current contributions to music/arts organisations Echo & Bounce and Outer Space.

Their expressive practices are multidisciplinary and experimental, conjuring atmospheres through sound, sight and space to explore the human condition, invite sensory experiences, and offer contemporary rituals ✨

We are so honoured to bring them to Naarm and experience their offering. Get ready to be taken on a journey ❤️‍🔥

CRIP RAVE THEORY - SAT 15 JUNE @ THE SUBSTATION!

Don’t miss out - get your ticket now! link in bio 🔥
[IDs in alt text]

Presenting ‘Enter’ @enter__other ~ It’s both a title and an open invitation—for the expressive practices of Nadeem Tiafau Eshraghi, and to the frontiers of shared potential 🌊🌊🌊

Nadeem is a Samoan/Iranian artist, designer, DJ and organiser living on Turrbal and Yuggera country, Meanjin/Brisbane. They’ve been actively engaged in community evolutions across a range of music and arts contexts for almost a decade, with current contributions to music/arts organisations Echo & Bounce and Outer Space.

Their expressive practices are multidisciplinary and experimental, conjuring atmospheres through sound, sight and space to explore the human condition, invite sensory experiences, and offer contemporary rituals ✨

We are so honoured to bring them to Naarm and experience their offering. Get ready to be taken on a journey ❤️‍🔥

CRIP RAVE THEORY - SAT 15 JUNE @ THE SUBSTATION!

Don’t miss out - get your ticket now! link in bio 🔥
[IDs in alt text]

Presenting ‘Enter’ @enter__other ~ It’s both a title and an open invitation—for the expressive practices of Nadeem Tiafau Eshraghi, and to the frontiers of shared potential 🌊🌊🌊

Nadeem is a Samoan/Iranian artist, designer, DJ and organiser living on Turrbal and Yuggera country, Meanjin/Brisbane. They’ve been actively engaged in community evolutions across a range of music and arts contexts for almost a decade, with current contributions to music/arts organisations Echo & Bounce and Outer Space.

Their expressive practices are multidisciplinary and experimental, conjuring atmospheres through sound, sight and space to explore the human condition, invite sensory experiences, and offer contemporary rituals ✨

We are so honoured to bring them to Naarm and experience their offering. Get ready to be taken on a journey ❤️‍🔥

CRIP RAVE THEORY - SAT 15 JUNE @ THE SUBSTATION!

Don’t miss out - get your ticket now! link in bio 🔥
[IDs in alt text]

Presenting ‘Enter’ @enter__other ~ It’s both a title and an open invitation—for the expressive practices of Nadeem Tiafau Eshraghi, and to the frontiers of shared potential 🌊🌊🌊

Nadeem is a Samoan/Iranian artist, designer, DJ and organiser living on Turrbal and Yuggera country, Meanjin/Brisbane. They’ve been actively engaged in community evolutions across a range of music and arts contexts for almost a decade, with current contributions to music/arts organisations Echo & Bounce and Outer Space.

Their expressive practices are multidisciplinary and experimental, conjuring atmospheres through sound, sight and space to explore the human condition, invite sensory experiences, and offer contemporary rituals ✨

We are so honoured to bring them to Naarm and experience their offering. Get ready to be taken on a journey ❤️‍🔥

CRIP RAVE THEORY - SAT 15 JUNE @ THE SUBSTATION!

Don’t miss out - get your ticket now! link in bio 🔥
[IDs in alt text]

hello, me again (in the space that exists outside of survival motivations)

maybe now (as usual), it’s pretty easy to get caught up in the actions and reactions of the present. and where this internet archive once served as some naturally flowing site of expressions (when time and capacity aligned)—now, as a result of the last few years, i’ve kinda lost my voice.

still, there are some beautiful opportunities that demand something from us—that provide a chance for new energies and ideas to materialise through us.

so today i’ve a something to share—a moment at @cementfondu last year; a real chaos weekend, made immensely possible by @first_name__lastname, who hosted and invited me, to come and share glimmers of the worlds i’m exploring.

and whilst i woke up that day super stressed, deleting heaps to make my computer a more cooperative companion, i am still very proud of this moment. it was an emotionally charged (and exhausting) share from a deep place. i'd say it's a raw and honest first draft of a larger directive—lines of questioning on paths of cultural reclamation and redefinition—in exploration of the great ocean (of my mother), and into the land of flowers (of my father).

hello, me again (in the space that exists outside of survival motivations)

maybe now (as usual), it’s pretty easy to get caught up in the actions and reactions of the present. and where this internet archive once served as some naturally flowing site of expressions (when time and capacity aligned)—now, as a result of the last few years, i’ve kinda lost my voice.

still, there are some beautiful opportunities that demand something from us—that provide a chance for new energies and ideas to materialise through us.

so today i’ve a something to share—a moment at @cementfondu last year; a real chaos weekend, made immensely possible by @first_name__lastname, who hosted and invited me, to come and share glimmers of the worlds i’m exploring.

and whilst i woke up that day super stressed, deleting heaps to make my computer a more cooperative companion, i am still very proud of this moment. it was an emotionally charged (and exhausting) share from a deep place. i'd say it's a raw and honest first draft of a larger directive—lines of questioning on paths of cultural reclamation and redefinition—in exploration of the great ocean (of my mother), and into the land of flowers (of my father).

hello, me again (in the space that exists outside of survival motivations)

maybe now (as usual), it’s pretty easy to get caught up in the actions and reactions of the present. and where this internet archive once served as some naturally flowing site of expressions (when time and capacity aligned)—now, as a result of the last few years, i’ve kinda lost my voice.

still, there are some beautiful opportunities that demand something from us—that provide a chance for new energies and ideas to materialise through us.

so today i’ve a something to share—a moment at @cementfondu last year; a real chaos weekend, made immensely possible by @first_name__lastname, who hosted and invited me, to come and share glimmers of the worlds i’m exploring.

and whilst i woke up that day super stressed, deleting heaps to make my computer a more cooperative companion, i am still very proud of this moment. it was an emotionally charged (and exhausting) share from a deep place. i'd say it's a raw and honest first draft of a larger directive—lines of questioning on paths of cultural reclamation and redefinition—in exploration of the great ocean (of my mother), and into the land of flowers (of my father).

i might’ve called this chapter ‘a hopeful sprint’ a couple days ago, and while i’ve since felt pretty sleep deprived and a few steps behind, i'm still exercising (exorcising?) some gratitude for the opportunities and experiences i’ve had lately

today i’ll be sharing some sounds for the first time in a hybrid live/dj context; layering textures, recordings, and compositions. i’m playing at @cementfondu amongst an exhibition curated by @weakling___ and @dennisgolding called ‘linger, dash, talk’, which centres queer and first nations modes of communication—languages, codes; gossip and anecdote.

the set i’ve been preparing is a collage of indigenous and diasporic explorations, with a focus on experiences born of the great ocean. i guess however it ends up, i'm v happy for this path to now be catalysed (:

it’s a free event, and i play around 2ish, followed by a performance from @siaxray ~~~

here's a photo of me one overcast sunrise at the res, taken by @greer_____

i might’ve called this chapter ‘a hopeful sprint’ a couple days ago, and while i’ve since felt pretty sleep deprived and a few steps behind, i'm still exercising (exorcising?) some gratitude for the opportunities and experiences i’ve had lately

today i’ll be sharing some sounds for the first time in a hybrid live/dj context; layering textures, recordings, and compositions. i’m playing at @cementfondu amongst an exhibition curated by @weakling___ and @dennisgolding called ‘linger, dash, talk’, which centres queer and first nations modes of communication—languages, codes; gossip and anecdote.

the set i’ve been preparing is a collage of indigenous and diasporic explorations, with a focus on experiences born of the great ocean. i guess however it ends up, i'm v happy for this path to now be catalysed (:

it’s a free event, and i play around 2ish, followed by a performance from @siaxray ~~~

here's a photo of me one overcast sunrise at the res, taken by @greer_____

i've some music to share today ~ a collage of memories, moods and moments, shared during a two-week family reunion in malaysia in 2019.

i can really struggle to share myself, defining a millions conditions before something feels 'ready', or simply getting distracted in the process. with some of the noise generated from iran lately, i felt like it was important to highlight some of the realities that've existed there for many, many years.

i've written some words on my family, the sounds and recordings in this piece of music, and the context from which they're born. if you'd like to read, head to my website/bio link.

'retrospective memories (اشراقی/eshraghis in malaysia, 2019)' is now out everywhere online you'll hopefully want it. i hope you can feel it as i do.

endless love, gratitude and power to my family of iran ~

i've some music to share today ~ a collage of memories, moods and moments, shared during a two-week family reunion in malaysia in 2019.

i can really struggle to share myself, defining a millions conditions before something feels 'ready', or simply getting distracted in the process. with some of the noise generated from iran lately, i felt like it was important to highlight some of the realities that've existed there for many, many years.

i've written some words on my family, the sounds and recordings in this piece of music, and the context from which they're born. if you'd like to read, head to my website/bio link.

'retrospective memories (اشراقی/eshraghis in malaysia, 2019)' is now out everywhere online you'll hopefully want it. i hope you can feel it as i do.

endless love, gratitude and power to my family of iran ~

i've some music to share today ~ a collage of memories, moods and moments, shared during a two-week family reunion in malaysia in 2019.

i can really struggle to share myself, defining a millions conditions before something feels 'ready', or simply getting distracted in the process. with some of the noise generated from iran lately, i felt like it was important to highlight some of the realities that've existed there for many, many years.

i've written some words on my family, the sounds and recordings in this piece of music, and the context from which they're born. if you'd like to read, head to my website/bio link.

'retrospective memories (اشراقی/eshraghis in malaysia, 2019)' is now out everywhere online you'll hopefully want it. i hope you can feel it as i do.

endless love, gratitude and power to my family of iran ~

i've some music to share today ~ a collage of memories, moods and moments, shared during a two-week family reunion in malaysia in 2019.

i can really struggle to share myself, defining a millions conditions before something feels 'ready', or simply getting distracted in the process. with some of the noise generated from iran lately, i felt like it was important to highlight some of the realities that've existed there for many, many years.

i've written some words on my family, the sounds and recordings in this piece of music, and the context from which they're born. if you'd like to read, head to my website/bio link.

'retrospective memories (اشراقی/eshraghis in malaysia, 2019)' is now out everywhere online you'll hopefully want it. i hope you can feel it as i do.

endless love, gratitude and power to my family of iran ~

i've some music to share today ~ a collage of memories, moods and moments, shared during a two-week family reunion in malaysia in 2019.

i can really struggle to share myself, defining a millions conditions before something feels 'ready', or simply getting distracted in the process. with some of the noise generated from iran lately, i felt like it was important to highlight some of the realities that've existed there for many, many years.

i've written some words on my family, the sounds and recordings in this piece of music, and the context from which they're born. if you'd like to read, head to my website/bio link.

'retrospective memories (اشراقی/eshraghis in malaysia, 2019)' is now out everywhere online you'll hopefully want it. i hope you can feel it as i do.

endless love, gratitude and power to my family of iran ~

i was in sāmoa quite recently for 10 weeks, at the end of a very long and definitive covid-induced closure, and right as the country re-opened in early august. it was such an immense and insightful trip—into the lives of my parents, my family, my people, and myself.

i’ve created an experience of listening, reading and viewing, which is part of (and exists in form thanks to) @outerspace.brisbane's 4th ‘supercut’ online exhibition. every single sound, sight and word i’ve shared is born of sāmoa, of this particular experience, and of my own. learnings of otherness and connectedness, reflections on purpose and duty—the transferral of knowledge and essence across vast seas, processes and time.

i am incredibly grateful for all of the family, friends and environments that contributed so generously to these new understandings, both directly, and in living their own authentic lives.

the whole exhibition is online now, and it also features new works from @anitaholtsclaw, @danishquapoor, @annalitwinowicz and @caraannsimpson. if you can, pls explore on desktop and with headphones (:: head to my bio link to explore all of it (and you can click on our names for added context)

thank u, love u ~

i was in sāmoa quite recently for 10 weeks, at the end of a very long and definitive covid-induced closure, and right as the country re-opened in early august. it was such an immense and insightful trip—into the lives of my parents, my family, my people, and myself.

i’ve created an experience of listening, reading and viewing, which is part of (and exists in form thanks to) @outerspace.brisbane's 4th ‘supercut’ online exhibition. every single sound, sight and word i’ve shared is born of sāmoa, of this particular experience, and of my own. learnings of otherness and connectedness, reflections on purpose and duty—the transferral of knowledge and essence across vast seas, processes and time.

i am incredibly grateful for all of the family, friends and environments that contributed so generously to these new understandings, both directly, and in living their own authentic lives.

the whole exhibition is online now, and it also features new works from @anitaholtsclaw, @danishquapoor, @annalitwinowicz and @caraannsimpson. if you can, pls explore on desktop and with headphones (:: head to my bio link to explore all of it (and you can click on our names for added context)

thank u, love u ~

i was in sāmoa quite recently for 10 weeks, at the end of a very long and definitive covid-induced closure, and right as the country re-opened in early august. it was such an immense and insightful trip—into the lives of my parents, my family, my people, and myself.

i’ve created an experience of listening, reading and viewing, which is part of (and exists in form thanks to) @outerspace.brisbane's 4th ‘supercut’ online exhibition. every single sound, sight and word i’ve shared is born of sāmoa, of this particular experience, and of my own. learnings of otherness and connectedness, reflections on purpose and duty—the transferral of knowledge and essence across vast seas, processes and time.

i am incredibly grateful for all of the family, friends and environments that contributed so generously to these new understandings, both directly, and in living their own authentic lives.

the whole exhibition is online now, and it also features new works from @anitaholtsclaw, @danishquapoor, @annalitwinowicz and @caraannsimpson. if you can, pls explore on desktop and with headphones (:: head to my bio link to explore all of it (and you can click on our names for added context)

thank u, love u ~

i was in sāmoa quite recently for 10 weeks, at the end of a very long and definitive covid-induced closure, and right as the country re-opened in early august. it was such an immense and insightful trip—into the lives of my parents, my family, my people, and myself.

i’ve created an experience of listening, reading and viewing, which is part of (and exists in form thanks to) @outerspace.brisbane's 4th ‘supercut’ online exhibition. every single sound, sight and word i’ve shared is born of sāmoa, of this particular experience, and of my own. learnings of otherness and connectedness, reflections on purpose and duty—the transferral of knowledge and essence across vast seas, processes and time.

i am incredibly grateful for all of the family, friends and environments that contributed so generously to these new understandings, both directly, and in living their own authentic lives.

the whole exhibition is online now, and it also features new works from @anitaholtsclaw, @danishquapoor, @annalitwinowicz and @caraannsimpson. if you can, pls explore on desktop and with headphones (:: head to my bio link to explore all of it (and you can click on our names for added context)

thank u, love u ~

i was in sāmoa quite recently for 10 weeks, at the end of a very long and definitive covid-induced closure, and right as the country re-opened in early august. it was such an immense and insightful trip—into the lives of my parents, my family, my people, and myself.

i’ve created an experience of listening, reading and viewing, which is part of (and exists in form thanks to) @outerspace.brisbane's 4th ‘supercut’ online exhibition. every single sound, sight and word i’ve shared is born of sāmoa, of this particular experience, and of my own. learnings of otherness and connectedness, reflections on purpose and duty—the transferral of knowledge and essence across vast seas, processes and time.

i am incredibly grateful for all of the family, friends and environments that contributed so generously to these new understandings, both directly, and in living their own authentic lives.

the whole exhibition is online now, and it also features new works from @anitaholtsclaw, @danishquapoor, @annalitwinowicz and @caraannsimpson. if you can, pls explore on desktop and with headphones (:: head to my bio link to explore all of it (and you can click on our names for added context)

thank u, love u ~