From the archive – Bruised was my first solo performance work, made in the early 1990s as part of a collaborative project Segami Dance Company with New Zealand performer Hugh Major. Read more at Segami. I am currently going through archive materials to see what remains from that time.
Martin O’Connor and I collaborated once again on a co-commission from Outspoken Arts Scotland. We were invited to develop a proposal for a new theatre production in Paisley called Love Street – The Musical. We spent two months out and about visiting organisations and gathering stories from people in Paisley who have memories and connections to Love Street.
Night Vision (working title) is a body of work in development.
The starting point was a series of texts captured in the middle of the night lying down in a semi-conscious state over a two-year period (2017-19). This was a new approach for me as a composer.
Many thanks to writer Em Strang – an early reader of a random, unfiltered selection of the texts. Em’s generous response gave me encouragement to trust my instincts in pursuing the work.
Early inquiries focused on investigating the text, making selections and initial thoughts about how to interact with the texts in performance. In 2019, I had the opportunity to explore those seed ideas in a Magnetic North Rough Mix Residency. The work-in-progress was aired in a public performance at Perth Theatre, Scotland.
I am delighted to say that in early 2021 I was awarded Creative Scotland funding to develop the next phase of the project over a six month period. A few threads are now unfolding, including a more substantial ensemble work for performance (which takes the title Night Vision), as well as a solo recording project, drawings/visual compositions, and micro-commissions.
I will link to more information here in the coming months, and I’m posting occasional updates on social media – you can connect there too if it’s of interest, details are on the Contact page…
The Mark of the Beast – a collaboration as composer/sound artist with writer/theatre-maker Martin O’Connor that explores lived experience of alcohol and addiction in Glasgow.
Between November 2015 and March 2016, Martin and I worked with the North East Recovery Community to create materials for a sound installation Good Days Bad Days. I composed a ‘soundtrack’ from the many voices/stories of participant’s experiences that was projected as an immersive installation at Platform Glasgow. The work was commissioned by GEAC Platform-to-Health and GRAND (Getting Real About Alcohol n Drugs).
The installationwas research and development for Martin’s live solo show The Mark of the Beast , for which I re-composed the Good Days Bad Days material in 2018.
Collaboration as composer/sound designer with writer/theatre-maker Martin O’Connor on his solo show Togail Nàisean/Building a Nation. We toured as part of a double bill with Aisling Oidhche Meadhan Samhraidh/A Midsummer Nights Dream (performed by Daibhidh Walker, directed by Liz Carruthers).
The tour visited venues in Lewis, North Uist, South Uist, Skye, Isle of Mull, Glasgow, Edinburgh. In 2018 the work had a performance at Tramway, Glasgow. Read more about it at Martin’s website here.
I was absolutely delighted to be one of four composers selected for the Choreographers and Composers Lab 2015 – a two-week intensive residency with Phoenix Dance Theatre in Leeds. The residency was led by Sharon Watson and Ken Hesketh, with guest speakers – Robert Cohan, Peter Weigold, Zoé Martlew, Dr Jo Butterworth, Mike Dixon, Didy Veldman.
Choreographers: Adrienne Hart, Mbulelo Ndabeni, Claire Lefèvre and Sandrine Monin. Composers: Roberto David Rusconi, Nichola Scrutton, Sarah Westwood and Eloise Gynn. Dancers: Hannah Bateman, Francesca Caselli, Andreas Grimaldier, Joshua Harriette, Carmen Marfil, Marie Astrid Mence, Ben Mitchell, Vanessa Pang, Alice Shepherdson, Sam Vaherlehto , Prentice Whitlow. Musicians: Hara Alonso, Oliver Dover, Sean Hamilton, Becky Yen-Huan
From the archive – Segami Dance Company was a collaborative project with New Zealand performer Hugh Major in the early 1990s in Edinburgh, Scotland. We joined forces after our paths crossed while working in the experimental theatre scene.
We created a handful of works including Bruised (solo), My Heart and My Legs, This Glorious Prison, and Shifting Sands, and performed in Edinburgh, London and a few venues in New Zealand’s north island. During our stay in New Zealand we also held workshops and collaborated with performing arts students to create their own contribution to our performance.
Our main influences were Butoh dance, other movement practices like Tai Chi, and indigenous cultures – we were interested in creating intense, contemplative, energetic work. I am currently going through archive materials to see what remains from that time.