Hello!
Thanks for stopping by and checking out my work and learning a little bit about my life as an artist.
My practice has evolved through a critical engagement with materiality and its ecological implications. Trained in metalsmithing, I initially worked with reclaimed and recycled materials (Sterling silver, gold, copper & glass where possible), creating hand-built objects, working in electronic mechanisms and sound-based installations. Over time, I became increasingly aware that even recycled materials remain entangled in extractive systems, prompting a shift in both methodology and material approach. This transition led me toward bioart and the exploration of alternative, living materials. Working with mycelium, I began cultivating sculptural forms, films/skins, and substrate-like surfaces that grow rather than are imposed, reframing my role from maker to collaborator. This shift also extended to a reconsideration of other materials, including the high energy demands of glass, toward lower-impact processes such as clay and ceramic experimentation with local earths and techniques like Obvara firing.
Across these material shifts, my work has moved toward systems that are responsive, relational, and more-than-human, where form emerges through interaction rather than extraction. This trajectory directly informs my current practice, in which biological processes, human bodies, and technological systems are brought into dialogue as co-creative agents. Speaking of agents, I create ALL of my work- me, myself & I, unless collaborating with other artists, devs, more-than-human organisms.
My sound-music output, developed through Nanotopia, grows from listening as an ecological and relational act. I use analog modular synthesis, field recordings, and live signal processing to create long-form, improvisational sound environments that unfold over time. I prefer this approach to fixed composition.
Central to my practice is ongoing collaboration with living systems, especially fungi, lichens, and microbial life. I translate their bio-electrical activity into sound, shaping my compositions in real time. In this way, sound is not authored alone but co-composed with nonhuman collaborators.
What excites me most about this process is its unpredictability. The subtlety of biological signals, the responsiveness of analog systems, and the challenge of creating reciprocal environments all contribute. I am interested in how sound bridges worlds, revealing intelligences beyond human sensory limits. My work invites audiences into deep listening, where attention becomes a shared medium across species and systems.
Multi-disciplinary collaboration is central to my practice.
My projects span sound art, bioart, immersive media, and performance, often involving scientists, engineers, and performers.
In immersive installations and VR theatre, I combine bio-sensing, spatial audio, live performers, and interactive environments as cohesive, responsive systems. Collaboration demands technical integration and shared languages across disciplines, which I foster through iterative experimentation and collective problem-solving.
I would say that my work builds environments of connection: between disciplines, between species, and between ways of sensing and knowing. Sound becomes a site of encounter. By tuning in to often-overlooked relationships, it becomes possible to imagine collective experiences grounded in reciprocity, care, and shared perception.
Expanding sound experiences beyond the auditory is a key focus of my work. To translate sound into physical sensation, perceived through the body, I use bone conduction, transducers, and vibrotactile systems.
For my installation Forest UnderSound, commissioned for SONICA 2021, I developed a system with contact microphones, condensers, and transducers. The setup converts the bioelectrical activity of living fungi into vibration. Audiences encountered fungal “soundscapes” via resonant surfaces and touch; they felt changes in microbial activity as tactile sensation.
Forest UnderSound received an Honourable Mention at Prix Ars Electronica 2021, where it was experienced as a 6-channel sound installation at Kepler's Garden in Linz. Forest UnderSound was revisited in 2024 at Fermynwoods Contemporary Art, UK for their Xylophobia soundwalk exhibit and continues to evolve. It will be presented at Sounding Futures, Ars Electronica 2026.
Sound Works: https://www.nanotopia.net
https://www.nanotopia.bandcamp.com
Soundcloud: https://soundcloud.com/nanotopia
Instagram: @MothAntler @nanotopia_net
shortened for funding support applications