 Colour music is a term that relates to the correlation between colour and music. So it's a term that has synesthetic undertones and it kind of derives from originally from colour organs which were built in the 18th and 19th century that look at the relationship between colour and music and how one could play the keys on the piano and replicate that through a coloured light show. So the exhibition sort of takes that as the starting point that builds on that idea through time up into contemporary works. Part of the idea of colour music is that there's a fusion of things that happen. So that's a synesthetic idea. It's also a wagarian idea that you build a total art by rather than just using one medium, say painting, you fuse everything together. The idea of the show is that we don't just show one specific gene of work, we fuse these things together. These concepts still resonate with artists today and so that colour and music are still definitive in the way that these artists decipher the world. So someone like John Aslanidis sets up a sort of a soundscape of rippling colour waves or moira patterns like a stone dropped in a river or a pool and rippling outwards just to sort of replicate a sort of dominating soundscape. Well I work with an algorithm to actually compose the paintings and that sort of creates an improvisational situation where I basically plot eight points on every one of the four canvases that the eight panels are all comprised of and they become pivotal points. This particular piece was to kind of extend what I've been doing with the Sonic Network series. It was very challenging. At some points I didn't know whether I was able to physically accomplish it, which is really cool. The way I feel like the sound is emanated from my work is a combination of tone, colour, line and overall composition and the constant interplay of those elements creates this Sonic resonance. It becomes like this third element. Collaborations with Brian I feel like take the work to the next level and it's almost like when I show the paintings on their own now I feel like they're almost naked. It's almost like it doesn't need that other component but the other component creates another dimension. My research is about creating musical instruments on iPads and working on ways to link the performers in an iPad ensemble using network technologies and machine learning. I've created these iPad instruments, which are apps running on the iPad and the musicians tap and swipe around on the apps to create sounds. In this performance we're using one particular instrument I've designed with a group called singing bowls. Each of the concentric circles in the app represents a different note and when the performers touch that the colour that occurs in that circle is related to the pitch of the note so the performers get this idea of harmony coming out from the different colours that come on the screen. What happens during the performance is that the computer is analysing all of our touches and looking for interesting points in the performance or we might have moved on to a new idea and when it detects that it actually updates the interface on the iPads and we get to explore some new notes or new sounds. So it's a way of linking an ensemble of performers together using technology. I'm particularly interested in working on computer music projects and in bringing computer music to performers who wouldn't necessarily use computers in their music making. My favourite pieces is the installation by Botorg because it's the sort of thing that we don't often do here at the Drill Hall Gallery. It's a very immersive, technically challenging piece but it's also something that often might fall outside the realm of fine art in a lot of people's scope so it's good to bring that in. It's very much a counterculture work. It's quite invasive, quite aggressive but it's also highly abstract.