As someone working across sound, technology, and performance, I often reflect on how my work translates beyond the micro-communities I typically engage with. Coming from a background in experimental sound, performance art, and DIY tech, my projects have primarily circulated within niche circles—underground performance spaces, independent art galleries, and creative tech meet-ups.

However, I have observed a growing public interest in interactive experiences, immersive environments, and creative uses of technology. This shift opens up new possibilities for my work to connect with broader audiences, particularly those drawn to the intersections of art, music, and technology, but who might not usually encounter experimental or academic sound art.

Since 2016, my artistic journey has been closely connected to two pivotal London platforms: Chronic Illness and The Judgement Hall. These collectives have been essential spaces for experimentation while also helping to introduce my work to wider, more diverse audiences.

Chronic Illness, curated by Piotr Bockowski (aka NeoFung), is a performance art series that emerged in the subterranean venue known as the Dungeons of Polymorphous Pan in Holloway, London. This raw, industrial space became a crucible for avant-garde performances that blurred the lines between sound art, theater, and immersive installations. My involvement allowed me to explore the intersection of sound and bodily movement in unconventional settings—for example, during Chronic Illness XX, I performed live soundscapes in dialogue with performance art pieces, creating multisensory experiences that challenged traditional audience-performer dynamics. These events attracted a diverse audience, fostering a community that appreciates experimental art forms and helping me take my work outside academic or institutional confines.

Similarly, The Judgement Hall, an underground movement defining itself as a “pocket of resistance in The Age of Surveillance Capitalism,” has been instrumental in amplifying my work’s reach. I have contributed DJ and sound performances at their early events, which later evolved into a larger festival. Their record label also released my EP “Theatre of Plague”, featuring soundtracks from Chronic Illness performances—extending the life of these works beyond their live iterations and reaching audiences through recorded media.

While these platforms have played a crucial role in shaping my artistic identity over nearly a decade, I recognize that my work has largely remained within niche communities. I am now seeking to expand my practice into broader, international contexts by applying to open calls such as the Hradby Samoty festival in Slovakia, which I see as an opportunity to connect with new audiences.