glass, wax, speaker, chain

Temporary Media Collective
The Crypt Gallery, London
08.02.24 - 11.02.24

(IN)SINCERE MEMORY is a development of previous work (IN)SINCERE LATENCY, a durational installation investigating material realities through the unruly volatility of sonic knowledge. Here, the remains of the work are laid to rest. The sonic traces resound through the glass, which bears the vestiges of the wax body - a memory of its previous form.

to hold your voice in my hand
Installation and Performance

barbed wire, speaker, answering machine, lamp, custom sticker

Temporary Media Collective
The Crypt Gallery, London
08.02.24 - 11.02.24

to hold your voice in my hand explores telephony and its relationship to space, absence and the human condition. Through a telephone conversation between two individuals with an ambiguous relationship, the uncanny medium of the telephone is investigated through notions of distance, virtuality, interference, isolation and desire.

Telephony both attests to and disrupts distance. It rethinks timespace as unfixed, transitory and placeless. Voices meeting in a phantom locus, simultaneously present and absent. The disembodied voice at the end of the line, a simulacrum, isolated and speaking into the abyss of distance. Memento mori.

But who is calling and what is the reason for the call? To answer the phone is to respond to an order. It is an affirmation

“I am here”

The flotsam of ambient noise, static and interference fractures the illusion of intimacy as the unknown lifeworld of the other creeps into the receiver, exposing the inability to securely possess the being on the other end.

Voice Actors:
Anna Roy
Catie Ridewood



Monthly residency on RTM.FM

To be intimate is to be close. To be, is to always be close to sound. Intimacy is a common ground for artists to develop and share practice-based research through the live performance of radio. From audio essays to abstract experiments, each show approaches the philosophy of sound and listening, and their intersection with relevant contextual themes.

Intimacy is Initiated by artist Elliot Buchanan, the show alternates monthly between personal investigations and guest offerings to create a community around sound-centred arts practices.



A Pluriversal Volume
UAL MA Sound Arts 2023 Postgraduate Show
Dilston Gallery, London
30.11.23 - 03.12.23

vibrant, vital flows of matter
seeping out, flowing between
engaging the body up-close,
proximal and present
a fluid un-tethering

(IN)SINCERE LATENCY is an investigation into material realities through sonic sensibility. Motivated by an interest in the blurring of internal, external, and non-realities, the work highlights the unruly volatility of sonic knowledge and its potential for disrupting a singular, objective reality.

A fatty body of organic matter, hanging from a butcher’s hook, slowly melts forming a pile of fleshy remains on the glass below. Chains continue through the body, emerging from the sticky carcass, symbolising the shackles of ingrained ideologies and provoking a sense of abjection at the bodily horror. A deep amber hue renders the clinical scene ambiguous, as the work reaches out into the space - grasping the audience in its thermal and sonic agency. The sound of dripping punctuates the space, marking the passage of time and allegorising the inevitability of death.

The work employs the relational logic of sound and its ephemeral invisibility to trace intra-actions through listening and consider the diffracted vibrational overlaps of bodies. It emphasises subjectivity, to know the world through intimacy and proximity, in an entanglement of human and more-than-human contingent matter.

Sine Cera – Latin for ‘Without Wax’ – etymology of ‘Sincere’

Photography by Mischa Haller



Elliot Buchanan,  Benjamin Harrison and Martyn Riley
The Swiss Church London
18.07.23 - 23.07.23

Caving investigates archaeoacoustic histories of resonance and how the relationship between sound and space can allow access to the divine. The sound installation negotiates the acoustic properties of The Swiss Church and its resonant frequencies to create complex harmonies and resonant entanglements. In the aural consciousness of our ancestors, large resonant spaces were imbued with an unknowable yet undeniable meaning; spiritual and divine in its essence. Humans would have encountered these experiences initially at natural sites such as caves or valleys, and this lineage of resonance and spiritual experiences can be traced to sacred spaces such as The Swiss Church. Mirroring the encounters of early humans as they sought to understand the causal meaning of the unknowable, the work elicits transgenerational experiences of resonance through hidden sounds. Drawing on archaeoacoustic research, the installation references the figure of the echea. Historically echea, or acoustic vases, were installed within sacred spaces and amphitheatres to alter the acoustics. The piece posits these vases as material allegory; alluding to this ancient technique. The sonic material of the work is informed by acoustic measurements of the space to locate the unique resonant frequencies, producing a dialogical and mutually affective soundspace.

John Antony Thadicaran
Lydia Kotsirea
Travis Yu
Katrina Stamatopoulos
Valeria Radchenko
Kristina May
Seraphina Simone
Elliot Buchanan

Exhibition Guide


Slow Silence: Happisburgh

Benjamin Harrison and Elliot Buchanan
Morley Gallery, London
24.04.23 - 18.05.23

Slow Silence is a collaborative practice between Benjamin Harrison and Elliot Buchanan investigating forms of slow violence through listening.

The first iteration of this project, Slow Silence: Happisburgh, explores the phantoming of Happisburgh, North Norfolk through the natural forces of coastal erosion. The project seeks to bring people closer to the issues of displacement and disruption caused by erosion through listening. The slow violence of this process is delineated through the testimony of the land itself, rendered accessible through expanded field recordings. These recordings have been carefully composed and transferred onto tape which has been fashioned to reflect the topography of the coastline both now, and its predicted form in one hundred years’ time. Due to the tape’s disintegrative nature this testimony will eventually fall silent; becoming subsumed by the accompanying oceanic soundscape and allegorising the tragic loss of these vulnerable communities, their cultures and their histories.

Presented as part of The Engine Room 2023 at Morley Gallery, London.

Words World Worlds
London College of Communication
20.02.23 -  24.02.23

Words World Worlds investigates worlding and the role of narrative in the proliferation of hegemony. In response to Ursula Le Guin’s The Carrier Bag Theory of Fiction, the rhizomatic assemblage resembles an emptied cultural carrier which reveals a non-linear narrative of gathering and connection to objects, memories, identity, place, and people.

Un-heroic stories of relationships with pets, parents, and buildings weave threads through a chaotic multiplicity of small sounds and field recordings that reveal the dynamic simultaneity of space in which the audience becomes entangled. Through these stories, the objects and photographs in the space become powerful representations of people, emotions, and relationships.

The work challenges hegemony and patriarchal ideologies through highlighting acts of gathering and sharing, promoting community, and appreciating the everyday.

Presented as part of the MA Sound Arts ‘Work in Progress’ show at LCC, London.