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.

Reading chapters from Poor Artists made me think a lot about my own journey through arts. Like the authors, I’ve always found it hard to imagine making a living from art, especially working in more experimental and underground music scenes like industrial noise and ambient. For a long time, I worked outside the arts—in hospitality, casinos, and now as an outreach worker in a homelessness charity. Creative work always felt separate from the jobs that paid the bills.

The chapter reminded me that I’m not alone in this feeling. It’s tough to find your place in the arts, especially if you don’t come from a background that gives you easy access to the right networks or spaces. I realised I might not have been looking in the right places, or I didn’t know what opportunities were even out there.

One important realisation I’ve had recently is to appreciate the things I already have. I’ve been lucky in many ways—I live in a guardianship space where I don’t have to pay full London rent, and I have the freedom and space to work on installations and make sound without worrying too much. For a long time, I didn’t have to work full-time, which gave me the chance to study and focus on developing my creative practice.

I now see how valuable that time and space have been. I also understand that once you work full-time—especially in a busy, expensive city like London—it becomes much harder to keep a creative practice alive or even to expand it to a full-time income. This makes me think more carefully about how I can make the most of my current situation, while continuing to explore ways to build a sustainable path in the creative field.

Before starting my studies at the University of the Arts London, my creative work was mostly all about music. I was focused on experimental sound, scoring performance art acts and exploring what sound could express on its own. When I began studying at UAL things rapidly shifted. Being surrounded by artists working with different mediums and technologies brought a lot of inspiration and new ways of thinking. I became especially inspired by work with micro-controllers, creative technology and how it can bring together sound, light, and movement.

During my studies, I started collaborating with others, which had a big impact on me. One of these collaborations was with audiovisual artist Aleks Zamyarski, who helped me see how sound and visuals can work together especially using software Touchdesigner to create powerful experiences. I also started working closely with my wife, Ona Tzar, who is a dance performer, musician and visual artist. For her shows and videos, I designed and built a custom LED set, which became an important step in combining my skills in music and technology. Thanks to this project for her I developed necessary skills which now I apply within creating an intricate LED array installation.

These experiences showed me that I love creating interactive, sensory environments where sound, light, and the body are connected. Now, I want to keep developing these kinds of projects, working with artists from different fields, and pushing my ideas into new spaces—like public art, live performance, or immersive installations.

An important realisation for me during this time has been that making a living purely from art—especially as someone working in fringe music genres like industrial noise or ambient—can be very challenging. Exploring creative technology has opened up new possibilities for me, giving me more confidence to eventually build a sustainable creative career. It allows me to work across fields, collaborate on different types of projects, and apply my skills in ways that go beyond music alone.

Later this year, my wife and I are planning to move to New York City. I’m really excited about this new chapter. New York has an amazing art and tech scene, and I hope to meet new people, start new collaborations, and explore fresh opportunities. I feel ready to take my work to the next level, building on what I’ve learned, and seeing where it takes me next.

• What is the medium?: motion capture interfaces (micro-controllers, e-textiles, motion sensors), DAW, multi-channel sound systems 
• Where do you share it?: I share it usually in performances, venues which can accommodate spatial sound and galleries 
• 3 keywords: Interfacing movement of the human body into controlling the sound 

I explore motion capture interfaces utilising microcontrollers, e-textiles, and motion sensors to turn body movement into sound. My work is shared through performances in spatial sound venues, and galleries. At its core, my practice focuses on connecting movement and sound and visuals to create immersive, interactive experiences.

Why do my art? What are my concerns?

I have been always fascinated by philosophical concept of duality, how it expresses in the world around us physically and conceptually, and how to challenge some of its existing structures. As innitally musician and sonically oriented person I became fascinated by the idea of challenging duality of the dance and music by reversing its causality. Another duality which I like to explore is the relationship between human body and machine. 

Why do I work with particular mediums, materials, forms?

Cybernetic micro-systems, e-textiles and motion sensors became in past few years available to public and relatively easy to use.

What themes, patterns emerge from my work?

Experimental and bodily noise soundscapes, abstract visuals and light exploring mostly themes of identity, abstraction, geometry, spirituality and body in the space.

Main influences or inspirations

Imogen Heap, Neil Harrbison, Onyx Ashanti, Donna Haraway, Atau Tanaka

Why is my work different to the next artist?

Although themes of blurring lines between organic and artificial have been around for some time, practically it has started to be explored not that long ago. There still isn’t too many artists working with similar themes, however, I believe that this will soon might change due to raising accessibility of the technology and the knowledge.

What is the single thing which i want to explore in my work?

I want to explore how the body can become an instrument—merging movement, sound, and technology to dissolve the boundaries between human and machine, action and sound, presence and immersion.