Actual Aura is a sound installation that aims to use digital technology to immerse the spectator in a bodily experience, where there is a notion of continuity between the work and the immediate environment. The purpose of the work is to immerse the spectator and displace them in the location where he is not physically present. The sounds of London's Victoria station departure hall were relayed to a gallery, using surround sound technology. In this way the spectator will experience aurally a displaced site, where the noise produced in one location is made physically present in another.

The bodily experience is attained through its installation form that it is, where the spectator has to intimately engage with the physical space of the gallery room to experience the virtually constructed space. To further immerse them in the displacement, the work is exhibited in a bare gallery room to avoid distractions, that only occupies the speakers in their correct placement, with their vertical position corresponding to average hearing height of commuters.

The work provides the spectator escapism from one reality to another. In doing so the word escapism is restricted to serve its purpose, where escapism is generally associated to being from reality to a fiction. Actual Aura explores the boundaries between real and fiction through deceiving the spectators in their bodily experience. Little do they know, that the sounds they are hearing have been manipulated to create a fictional space, a fictional aura, as opposed to an actual aura.

Screen Lock is a video installation that explores the concept of digital narrative. A narrative can be defined to be a sequence of events held together by a structure that provides a sense of cohesion. A digital narrative refers to a narrative that would not have been possible without digital technology.

Created using the programming software Processing, Screen Lock presents a scene from the film The Hurt Locker (2008). The work denies the spectator gratification of the whole narrative and only reveals random sections of the footage displayed across a screen, where the blacked-out sections act as a material barrier. The cuts are determined by factors of 10-second intervals rather than logic of narrative within the footage. The spectator is kept interested in trying to figure out what is going on as the scene gathers climax; evident in the audio. The above footage is a recorded sample; in the original programmed installation the revealed sections are constantly random everytime the video loops.

Headlines is a screen-based work that explores public perception to information presented by media institutions. The purpose of the work is to offer individual spectators their own viewpoint.

Displayed on a television screen, the work presents footage of a recognisable televised news interview. Manipulated using the programming software Processing, the spectator only visualises a single vertical line of pixels from the footage. This line of pixels is stretched to fit the screen, leaving behind only colour values that are constantly changing with each frame of the playing footage. Upon wearing headphones, that is audible to the spectator is the interview with a distorted frequency range.

The work offers individual spectators their own viewpoint of the news interview. Each time the interview loops, the vertical line of pixels randomly changes to a different vertical point on the original interview footage, leaving behind different colour values. Each time the interview loops that is audible to the spectator is the interview with a different and random audio frequency range. The above footage is a recorded sample of the work; only in the original programmed work can the concept of spectator viewpoint be achieved.

Virtual Aura is a sound based installation that explores virtual space and the human sense of sound and space. It specifically investigates how blind people experience space.

By withdrawing the sense of sight, it is often acknowledged that naturally your other senses strengthen. Pablo Picasso translates blindness as a virtue - “They ought to put out the eyes of painters as they do goldfinches in order that they can sing better”. The installation functions in a manner where both blind and sighted people are experiencing space in the same way.

A virtual 3D environment is created using Unity 3D, and through only sound can a spectator sense and experience this created environment. The work allows the spectator to experience a virtual space through a physical space, and they have to engage and become immersed in the installation for it to function.

The installation features a virtually constructed space of a house party that a spectator can freely explore within the set boundaries. Upon wearing a blindfold and headphones, the spectator uses pressure pads on the floor to walk around the space, and uses a Wii remote to turn. The rooms around the virtual house party are distinguishable from their sounds, and the more the participant interacts with the installation, the more familiar they become the space.