I see my work Zoetrope with video as a natural extension of my work with sound. To a large extent, my crossing of this dividing line (if one exists) has been made possible by the technology I am using. I use computer-based non-linear editing systems for both video and audio, and find that one can work with video in Adobe Premiere (for example) in much the same way as one works with sound in Digidesign Pro-Tools.

This compatibility of working practice allowed me to make a conceptual leap and realise that I could apply the techniques and aesthetics of my compositional practice, developed to a large extend through work on systems such as Pro-Tools, and apply them to video materials, and a specific kind of music that has recognisable antecedents in electroacoustic or acousmatic work. With both sound and image I use entirely concrete materials, process them, often very heavily, and assemble them in complex abstract audiovisual forms, which are largely gestural on a micro level, and operate according to recognisably “musical” forms on a macro level. Although there are some parallels between my work and contemporary video art/time-based arts practice (I have been quite strongly influenced by recent works by Bill viola, such as The Passing and Deserts, for example), some of the issues current in this area of work are almost bypassed, since I am applying so much of the critical vocabulary of sonic art and music. Indeed, as mentioned above, I have found most inspiration in early abstract formal film, and in the experimental use of often overtly “musical” forms in this work. I was also influenced by more recent animation, by artists such as Bärbel Neubauer and Thomas Renoldner.