My research and practice employs musical interventions and political discourse utilizing video and performance to decode the subject. This work takes on many different forms from musical compositions to audio and video installations. Alongside this work, I have also developed a number of interdisciplinary projects – what I term ‘digital operas’ usually incorporating video, dance, theatrical staging, and music performance – inspired by my installation and compositional work. Built around collaboration and the use of current technology and performance, this work is based on a synthesis of genres that form new media hybrids. The digital operas are performance spectacles that have appropriate historical texts juxtaposed with pop culture references. The work is furthered layered through the exploration and use of variation, intervention, and deviation to reposition meanings and experiences, and challenge the parameters of composition, the performance of western classical music and text.

My work to date is an investigation of popular culture and the media, western history, spirituality and personal experiences. All of this informs my approach to developing a ‘re-definition’ of history and popular thought. I treat pop culture like a literary classic, history becomes fiction and spirituality becomes the everyday and mundane. I am interested in destabilizing the routine relationship the performers have to the original audio, text and or visual, while stimulating other types of responses, I achieve this through regulating and accenting certain roles of the collaborators, creating an unpredictability of content, sound and image. In recent projects such as: “Rule Britannia - A Low Opera in Grand Shite Style” (2002) incorporated two pianos, four pianists in constant rotation and two video monitors that investigated British Imperialism through the course of history. “Suite for Birth” (2000), a digitally manipulated audio installation work that incorporated the following elements; the eulogy given by Queen Elizabeth II of England at Lady Diana's funeral, music originally composed for the birth of Prince Charles by Sir Michael Tippett, and a mezzo soprano singing a duet with the Queen of England. In “The Curse of Rome” (2007) video, a solo singer subverts Shakespeare’s text of “Julius Caesar” to the restructured melodies of British baroque composer Henry Purcell.

Using these methods, as well as observation and contemplation, I am able to create new stories, both tragic and comic, that will take an audience to another place, to transform our experiences at least for that moment. I enjoy creating these kinds of tensions in the work's content and form - this is when I hope an audience engages and asks questions of themselves and their experiences.