I have been using sound consistently since 1995 and have been developing it as a means to investigate our relationship to interior and exterior architecture and the world around us, especially since I moved to Shetland in 2000.  I like the way it can take us through the experience of a journey as a means of discovery and realisation and ask us to consider our relationship between private and public spaces.  Sound resonates.  It  draws links between nostalgia and yearning, mortality, desire and recognition.

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I've used sound in a variety of ways from low to high tech.  The first residential training course I attended for digital technologies was for audio, run by PVA Media Lab at Dartington.  I first used low tech sound with Echolalia in 1995 and eventually invested in crates of happy birthday greeting cards with 'happy birthday' sound loops. In 1999 I also used these for Silver the 25th anniversary celebration of Peacock Printmakers Gallery, Aberdeen and Intake, when I was repeatedly sending packages of the battery operated sound loops to France.  I learned a lot through the workshop at BBC studios for The Sonic Postcard Project, too. I have loads of mini disc players, which are now obsolete, of course. I used them as objects in their own right for Flow, the site-specific sound work I made for relocation, the second emplacements  event at Museum House, London in 1999. 

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