Much of the history of sound art has been about an exploration of acoustical environments, how sound is experienced through its interaction with architecture, space and objects. My engagement with sound is centered around an exploration of the interior (bodily) experience of sound and the emotional or empathetic component of hearing that is intangible and abstract. As a trained opera singer, I am interested in how the voice can impart information beyond semiotics, what Roland Barthes calls the “grain of the voice.” My work often uses sound as an analogue for the body. Using electronic effects, microphones and speakers the voice is dislocated from the live body in order to highlight its presence, essentially evoking the live body rather than describing it. My art practice is trans-disciplinary and inclusive employing multiple media and strategies. I use musical techniques like repetition, feedback, remixing, modulation and improvisation across genres.