Jeremy Chen

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	<title>Jeremy Chen </title>
	<link>https://jeremyxchen.com</link>
	<description>Jeremy Chen </description>
	<pubDate>Mon, 13 Jul 2026 17:25:50 +0000</pubDate>
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	<item>
		<title>Landing Page</title>
				
		<link>https://jeremyxchen.com/Landing-Page</link>

		<pubDate>Mon, 13 Feb 2023 09:19:42 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

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		<description>JEREMY CHEN
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 陳純熙</description>
		
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	<item>
		<title>works</title>
				
		<link>https://jeremyxchen.com/works</link>

		<pubDate>Mon, 13 Feb 2023 09:42:22 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

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		<title>About</title>
				
		<link>https://jeremyxchen.com/About</link>

		<pubDate>Mon, 13 Feb 2023 12:12:10 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

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		<description>
	

JEREMY CHEN 陳純熙 (b.1997), is a Hawaiian born, Hong Kong-Chinese artist and musician based in London working primarily in sound, installation, moving
image, and performance. His work explores dissociative states, digital technologies,
masculine identities, as well as the intersection between brain rot andBuddhism. Combining his former Zen monastery and pop star training, Jeremy plays
upon notions of detachment, ego and persona as subjects of examination in relation to
the human condition within his work.

					
With an interest in cinema, mythology, and virtual realities, digital technologies in the realm of motion capture, photogrammetry, game design, and animation are heavily featured in his work. The ever evolving relationship between interface and the extraction/recreation of a ‘self’ as data/material is an ongoing thread in his investigation. 

	
						Though often working with digital elements,&#38;nbsp; the outcomes often take the form of immersive installations integrating spacial, architectural, and
sculptural features playing upon liminality and sites of abandonments as facets of
simulation within his exhibitions.

					
&#38;nbsp; &#38;nbsp;
As a multi instrumentalist with a background in song writing, production and audio engineering, Jeremy also scores music for films and games in addition to his own recorded music projects.&#38;nbsp; &#38;nbsp;

Jeremy holds an MA in Contemporary Art practice from the Royal college of Art (2022) and a BA in fine art from Goldsmiths, University of London (2020). 

He has also attended the Clive Davis Institute of Recorded Music at New York University (2015).Enquiries: info@jeremyxchen.com

	
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		<title>In perpetuity, eternally, forever!</title>
				
		<link>https://jeremyxchen.com/In-perpetuity-eternally-forever</link>

		<pubDate>Mon, 13 Jul 2026 17:25:50 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

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		<description>In Perpetuity, Eternally, Forever!&#38;nbsp;

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In Perpetuity, Eternally, Forever! is a site-specific installation commissioned for the 10th Bi-City Biennale of UrbanismArchitecture (UABB), Shenzhen and Hong Kong. The work operates within a parallel universe loosely modelled on our own, in which advances in medicine have overcome human frailty and the lifespan extends indefinitely. In this world, death is not an event but a regulated service. The Afterlife Corporation holds sole administrative rights over the spiritual transitory system to the Afterlife®, accessible only through authorised channels.


The installation's central object is the Death Chamber 5000, the corporation's flagship product: an antiquated phone booth tucked discreetly into the urban fabric of the biennale site, offering what its patent-pending literature describes as a zero-waste system of dimensional transit. Reactivating the residual colonial form of the phone booth as customer-facing apparatus, the work positions technology as the administrative interface for the metaphysical. Some choose to seek transit through illicit channels, believing an unofficial crossing might deliver them to a different dimensional destination entirely. The booth is out of order.


Inside plays a looping film composed&#38;nbsp; of repurposed Hong Kong commercial footage from the 1980s and 90s. Real estate advertisements, credit card promotions, life insurance, luxury travel, massage chairs: the material of a specific era's aspiration, recut and narrated through an original voiceover to communicate the idealistic state of the world the corporation wants its citizens to inhabit. The aspirational visual languages of late twentieth century Hong Kong are taken further than the era intended. The object is from the future. The images are from the past.


Suspended between an object inherited from a past that no longer belongs to anyone and a future in which death has been rendered optional, the work stages the promise of a single-player respawn between levels.

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		<title>FLAY</title>
				
		<link>https://jeremyxchen.com/FLAY</link>

		<pubDate>Tue, 08 Jul 2025 15:27:23 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/FLAY</guid>

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	FLAY


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FLAY is kill streak theatre open world karaoke clickbait expressionism dance dance revolution Mario Kart jazz. FLAY is an AV performance accompanied by a live score by Zein &#38;amp; Jeremy.

 First presented at FACT Liverpool April 25, 2025. Co-curated by FACT Liverpool and Anne Duffau.&#38;nbsp;FLAY is an ongoing performance series by Zein Majali and Jeremy Chen.&#38;nbsp;

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	<item>
		<title>I only feel feelings in transit</title>
				
		<link>https://jeremyxchen.com/I-only-feel-feelings-in-transit</link>

		<pubDate>Tue, 08 Jul 2025 16:20:56 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/I-only-feel-feelings-in-transit</guid>

		<description>
	I only feel feelings in transit
&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/dab60f41a5a4f8d0b18c8b77598b773d070671fbc7b6a9fac92afac4dfd3f401/I-only-Feel-things-poster-dimension--068.jpg" data-mid="235540705" border="0"  src="https://freight.cargo.site/w/1000/i/dab60f41a5a4f8d0b18c8b77598b773d070671fbc7b6a9fac92afac4dfd3f401/I-only-Feel-things-poster-dimension--068.jpg" /&#62;


‘I only feel feelings in transit’ is an immersive audio installation exploring simulated voyeurism as a means of performing masculinity. By reconfiguring parts of a disassembled automobile, the work gently parodies NPC machismo, where agency and subjecthood are restricted to filmified and gamified landscapes. Playing with the seduction of toys central to the collusion of masculine and capitalistic fantasies, ‘I only feel feelings in transit’ invites the audience to indulge in this contradictory ‘in betweenness’ via the simulation of a private interior existing in the gap between the momentum of their auditory experience and the illusion of a lack of control. 


&#60;img width="5819" height="3879" width_o="5819" height_o="3879" data-src="https://freight.cargo.site/t/original/i/fb5b92b302e2ca2d493678969b43936a94fe60e341eee4c445f4ebf46e38e5cd/I-only-Feel-things-poster-dimension--58.jpg" data-mid="235540201" border="0"  src="https://freight.cargo.site/w/1000/i/fb5b92b302e2ca2d493678969b43936a94fe60e341eee4c445f4ebf46e38e5cd/I-only-Feel-things-poster-dimension--58.jpg" /&#62;
&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/c9dda022c86970295a8e863e3fab6f3f19539b821d0fcfee960d2baedd804c71/I-only-Feel-things-poster-dimension--28.jpg" data-mid="235540205" border="0"  src="https://freight.cargo.site/w/1000/i/c9dda022c86970295a8e863e3fab6f3f19539b821d0fcfee960d2baedd804c71/I-only-Feel-things-poster-dimension--28.jpg" /&#62;
&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5c513bc1bc5b7c569b25db836728d32e31320620ad545df30af5a0298fd783e3/I-only-Feel-things-poster-dimension--076.jpg" data-mid="235540387" border="0"  src="https://freight.cargo.site/w/1000/i/5c513bc1bc5b7c569b25db836728d32e31320620ad545df30af5a0298fd783e3/I-only-Feel-things-poster-dimension--076.jpg" /&#62;
&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/e9116660d9e35642204b7c4f7253b8d1f5840a448b2239dc11071c01bec765ca/I-only-Feel-things-poster-dimension--072.jpg" data-mid="235540380" border="0"  src="https://freight.cargo.site/w/1000/i/e9116660d9e35642204b7c4f7253b8d1f5840a448b2239dc11071c01bec765ca/I-only-Feel-things-poster-dimension--072.jpg" /&#62;
&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/764f85e8bdf2b86f6191c6d4d0d48d340fe7d7fdcd35cb4bf4731e169210d396/I-only-Feel-things-poster-dimension--44.jpg" data-mid="235540191" border="0"  src="https://freight.cargo.site/w/1000/i/764f85e8bdf2b86f6191c6d4d0d48d340fe7d7fdcd35cb4bf4731e169210d396/I-only-Feel-things-poster-dimension--44.jpg" /&#62;


The immersive installation takes an interest in specifically exploring the liminal space of pre-shootout and approaching death moments within the fantasy of manospheric constructs. The piece draws influence from iconic cinematic depictions of the experience of driving, as well as the characterisation of the ‘literally me’ characters that have emerged as central figures of fantasy within the manosphere. Such characters include De Niro’s Travis Bickle from Scorsese’s Taxi Driver, Ryan Gosling’s unnamed character, ‘Driver’ from Drive, Christian Bale’s Patrick Bateman from American Psycho, as well as Joaquin Phoenix’ Arthur Fleck in Joker.&#38;nbsp; Such characters, with certain exceptions, are often depicted as ostracised male figures on the fringes of society, unable to succeed nor fully participate as a result of social circumstances imposed upon them as a result of systematic institutional failings, thereby restricting available roles for them to occupy within society. This role is often akin to one of the NPC, the non-playable character in a video game, as they are often unimportant, unremarkable and ignored.

 
The trajectory of the story that often follows is that this male outcast finds himself or creates the circumstances in which his typically numbed, monotonous existence results in an emotional outburst paired with a climatic act of violence where the NPC transforms into a ‘main character’ type figure by taking actions that give the character a sense of agency. This may be performed through a heroic sacrificial act, or a moment in which a system of oppression is resisted, and is often combined with a blazing destructive climatic shootout or similar act of violence. The aftermath of such heroic, violent moments are also further romanticised within contemporary digital culture and the manosphere as evident in the the tik tok trend or meme format: ‘the masculine urge to bleed out…’ accompanied with solitary, liminal imagery of what might be a night scene of a park bench under a street light covered in snow. This moment that exists as a post-heroism outburst leading to the hero bleeding out, awaiting death has also been cemented within this space of cinema, with iconic examples such as Agent K bleeding out in the snow to evolving synthesiser pads in Hans Zimmer’s rendition of Vangelis’ Tears in the rain in the final scene of Blade Runner 2047. 

	
	&#60;img width="3611" height="5416" width_o="3611" height_o="5416" data-src="https://freight.cargo.site/t/original/i/b772bc9b17e29837ed160586b2d38ce57993aaedc49516f3d309014f8ca11cb0/I-only-Feel-things-poster-dimension--7.jpg" data-mid="235540228" border="0"  src="https://freight.cargo.site/w/1000/i/b772bc9b17e29837ed160586b2d38ce57993aaedc49516f3d309014f8ca11cb0/I-only-Feel-things-poster-dimension--7.jpg" /&#62;


	&#60;img width="4160" height="6240" width_o="4160" height_o="6240" data-src="https://freight.cargo.site/t/original/i/1eed997cdb16c55db27bdef5e0c1f655b20426ca2058e758cbdf211ed9128e23/I-only-Feel-things-poster-dimension--57.jpg" data-mid="235540200" border="0"  src="https://freight.cargo.site/w/1000/i/1eed997cdb16c55db27bdef5e0c1f655b20426ca2058e758cbdf211ed9128e23/I-only-Feel-things-poster-dimension--57.jpg" /&#62;

	In both the moment preceding the climactic act of violence and the moment that immediately follows, the male figure is often depicted with a sense of intense conviction and fearlessness, giving the actions that complete the transformation a type of seductive momentum. ‘I only feel feelings in transit’ attempts to suspend the sensation of these moments by creating it’s own form of motion through the use of original music and field recordings evocative of various times and spaces. Such include isolated pigeon flutterings placed alongside footsteps in the midst of rain that transition to tape clicks indicating changing of channels on the radio, followed by driven baselines over the sounds of distant waves crashing.


The notion of artifice is central to the experience of the immersive installation through the transparency that the audience is presented with as the installation introduces and exposes all the elements of the piece similarly to the approach of a ‘film set’. With all components that comprise of the experience visible, the audience is invited to participate in the set and the simulation of the experience by sitting in the single seat available, thus activating the installation by performing the role of the passenger character. The notion of agency is explored within the work through this ‘space’ of participation, as the only directive of subjection and sense of momentum in the time based element of the work comes from the sound and music. With an entirely static environment designed as a set, the lack of visual change, and the only sense of movement coming from sound based elements, the audience is invited to perform the greater task of ‘performing’ the suspension of disbelief in the experience in comparison to level of immersion in watching characters in a film. In this particular first person sense of distance the audience has within the installation, the audience is ultimately asked to engage with the experience of cinema in a different format; as the audience is allowed to assume the role of the character experience privately through the body, within the physical vessel of artifice, is thus allowed to be swept by the experience in a way different to watching a film. 


</description>
		
	</item>
		
		
	<item>
		<title>i'm so meta</title>
				
		<link>https://jeremyxchen.com/i-m-so-meta</link>

		<pubDate>Mon, 13 Feb 2023 12:12:13 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/i-m-so-meta</guid>

		<description>
	I’m so meta, haha: Explorations in Jeremy&#38;nbsp;


What will become of mourning and remembrance in the age of the virtual?


What subsitutes human connection as we stay in parasocial contact with the digital ghosts, remnants, and traces we leave behind?
What becomes of the self in the present and the experience of disconnection upon the dissection of one’s material and immaterial self with the tools at our disposal? &#38;nbsp;
How does this displacement of time, of being forced to live in the present yet with the constant gaze of retrospective representation from the future affect our experience of mortality? 


	&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/dab82e47910594e4be2d165ae469ab546efac1c0e114b94e74411601fd20c75f/IMG_4500.jpg" data-mid="168874639" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/dab82e47910594e4be2d165ae469ab546efac1c0e114b94e74411601fd20c75f/IMG_4500.jpg" /&#62;

	
&#60;img width="2304" height="4096" width_o="2304" height_o="4096" data-src="https://freight.cargo.site/t/original/i/b9f66e444d2c8494e677120943933ade27e9b9e63da524d90a466b64c09af6d1/8F1566E3-3173-4F2F-AB45-DC3684E487A0-52299AC1-C8D0-47B4-A05E-0FD11987F9B5-5.jpg" data-mid="168874664" border="0"  src="https://freight.cargo.site/w/1000/i/b9f66e444d2c8494e677120943933ade27e9b9e63da524d90a466b64c09af6d1/8F1566E3-3173-4F2F-AB45-DC3684E487A0-52299AC1-C8D0-47B4-A05E-0FD11987F9B5-5.jpg" /&#62;

	
As though simulating a funeral for oneself from the year 2099, I’m so meta, hahah: Explorations in Jeremy creates a space in which these conditions are enacted and envisioned. The installation plays upon symbols and relics of past abandonment in contrast with universally familiar yet uncanny representations of future ritual. 

A living digital portrait, captured with the exact complexion, pigmentation, and texture data slowly turns its head to stare down the audience. A series of continuous apathetic expressions by which the figure wishes to be remembered.

	
The same figure is displayed in object form as a life-size buddhist sculpture 3d printed with stone coloured resin in the room. The buddhist conundrum of reincarnation and sanctity is complicated by the ways in which our consciousness is able to technologically live on. The lines between transcendence, death and the afterlife having all been smeared into a blur.

Three screens in the room play out the figures memories as a visual diary. Fleeting moments of transitory states, as mundane as they are significant. All but data captured prior to making the jump into the digital. All but material now existing beyond the constraints of the flesh.
&#60;img width="6027" height="4018" width_o="6027" height_o="4018" data-src="https://freight.cargo.site/t/original/i/66e25e561f5a68d7e69391aacb6a2a729cf3ac5a5736310472b605f6a2ac68a7/IMG_4209.jpg" data-mid="168874747" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/66e25e561f5a68d7e69391aacb6a2a729cf3ac5a5736310472b605f6a2ac68a7/IMG_4209.jpg" /&#62;

	
&#60;img width="960" height="1443" width_o="960" height_o="1443" data-src="https://freight.cargo.site/t/original/i/bafd726e67309f1d7e2815b26c309cbee337c74f1548d187c92914c6c704f28e/IMG_4362.jpg" data-mid="168874637" border="0" data-scale="100" src="https://freight.cargo.site/w/960/i/bafd726e67309f1d7e2815b26c309cbee337c74f1548d187c92914c6c704f28e/IMG_4362.jpg" /&#62;&#60;img width="3456" height="1944" width_o="3456" height_o="1944" data-src="https://freight.cargo.site/t/original/i/e0470d43766eea3e03a903174e5d0d37193f8e5f55d1407e474745647ffee79b/Screenshot-2022-06-07-at-10.17.06-PM.jpg" data-mid="168875257" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e0470d43766eea3e03a903174e5d0d37193f8e5f55d1407e474745647ffee79b/Screenshot-2022-06-07-at-10.17.06-PM.jpg" /&#62;


	&#60;img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/9b4248cdcacfb52198d6890130be33717efba2f1275ca8c8105f66839e55ccf8/MVI_0246.00_13_54_04.Still001.png" data-mid="168874475" border="0"  src="https://freight.cargo.site/w/1000/i/9b4248cdcacfb52198d6890130be33717efba2f1275ca8c8105f66839e55ccf8/MVI_0246.00_13_54_04.Still001.png" /&#62;&#60;img width="5344" height="3845" width_o="5344" height_o="3845" data-src="https://freight.cargo.site/t/original/i/8bd801d1613da8555e165abb00e689dbbefdbb70e45007eb3b7ca35b6aa0c65f/IMG_3794.jpg" data-mid="168874736" border="0"  src="https://freight.cargo.site/w/1000/i/8bd801d1613da8555e165abb00e689dbbefdbb70e45007eb3b7ca35b6aa0c65f/IMG_3794.jpg" /&#62;
&#60;img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/a0858ade50c8b50af475522d3ecedb7e7cc666a64d663dc89da496c1cf077bf0/MVI_0263.MP4.04_49_38_11.Still002.jpg" data-mid="168874510" border="0"  src="https://freight.cargo.site/w/1000/i/a0858ade50c8b50af475522d3ecedb7e7cc666a64d663dc89da496c1cf077bf0/MVI_0263.MP4.04_49_38_11.Still002.jpg" /&#62;

	I’m so meta, hahaha: Explorations in Jeremy was exhibited in summer 2022 as part of the Royal College of Art, Contemporary Art Practice degree show. Designs for the animation and sculpture were made in collaboration with Natsuki Hanazaki.&#38;nbsp;
&#60;img width="3006" height="4509" width_o="3006" height_o="4509" data-src="https://freight.cargo.site/t/original/i/b5fc74ecbc4fbf955b1fed54b49fed7976db47c40259c41fb1d414106d9cc452/IMG_3932.jpg" data-mid="168874737" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b5fc74ecbc4fbf955b1fed54b49fed7976db47c40259c41fb1d414106d9cc452/IMG_3932.jpg" /&#62;

	
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	<item>
		<title>Infinite Self</title>
				
		<link>https://jeremyxchen.com/Infinite-Self</link>

		<pubDate>Sun, 19 Feb 2023 14:38:58 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/Infinite-Self</guid>

		<description>
	

Infinite Self 


&#60;img width="1526" height="1232" width_o="1526" height_o="1232" data-src="https://freight.cargo.site/t/original/i/2943035e5b457a6f3f1901a3ecf2dfc362a21d4b8a64cabf656b1a51ab59d687/Screenshot-2023-02-19-at-11.50.24-PM.png" data-mid="168956218" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/2943035e5b457a6f3f1901a3ecf2dfc362a21d4b8a64cabf656b1a51ab59d687/Screenshot-2023-02-19-at-11.50.24-PM.png" /&#62;
&#60;img width="2474" height="1278" width_o="2474" height_o="1278" data-src="https://freight.cargo.site/t/original/i/0adc14891f159bac6d19b24e282e706f58654a2b88983f3e024f746a56542f80/Screenshot-2023-02-19-at-11.50.30-PM.png" data-mid="168956222" border="0"  src="https://freight.cargo.site/w/1000/i/0adc14891f159bac6d19b24e282e706f58654a2b88983f3e024f746a56542f80/Screenshot-2023-02-19-at-11.50.30-PM.png" /&#62;
&#60;img width="2494" height="1098" width_o="2494" height_o="1098" data-src="https://freight.cargo.site/t/original/i/260ea50150f8776b50da64effa6cc40b164f96500a41f169822e3cd5e5c9198c/Screenshot-2023-02-19-at-11.51.13-PM.png" data-mid="168956241" border="0"  src="https://freight.cargo.site/w/1000/i/260ea50150f8776b50da64effa6cc40b164f96500a41f169822e3cd5e5c9198c/Screenshot-2023-02-19-at-11.51.13-PM.png" /&#62;


Infinite Self is a non linear film program made in collaboration with Natsuki Hanazaki and Takachi Honda. 


The film functions on a program that runs the recorded performances, voice banks and worlds. Intended to be played continuously, the program creates a different order and combination of events each time. &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Crash (Blue Hour Manifesto)</title>
				
		<link>https://jeremyxchen.com/Crash-Blue-Hour-Manifesto</link>

		<pubDate>Sun, 19 Feb 2023 08:49:59 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/Crash-Blue-Hour-Manifesto</guid>

		<description>
Crash (Blue Hour Manifesto)
	

Blue Hour Manifesto

 
Record something from a balcony 
Your feet must be touching the floor &#38;nbsp;
Only record during the blue hour 
All shots done in one sitting/standing
shoot first, think later


Crash (Blue Hour Manifesto) is a manifesto accompanied by a one minute film. 

Inspired by the works and lectures of Abbas Kiarostami in working minimally and spontaneously, Jeremy created this work during the Covid-19 quarantine period within his legally alloted balcony outdoor space. &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Mausoleum</title>
				
		<link>https://jeremyxchen.com/Mausoleum</link>

		<pubDate>Tue, 14 Feb 2023 10:01:26 +0000</pubDate>

		<dc:creator>Jeremy Chen </dc:creator>

		<guid isPermaLink="true">https://jeremyxchen.com/Mausoleum</guid>

		<description>
	&#60;img width="564" height="800" width_o="564" height_o="800" data-src="https://freight.cargo.site/t/original/i/924d3b85088d8c29fd48010c4be0ad207b1bacf70d09c703660f1d930d58b6ba/mausoleum.jpeg" data-mid="168933258" border="0" data-scale="88" src="https://freight.cargo.site/w/564/i/924d3b85088d8c29fd48010c4be0ad207b1bacf70d09c703660f1d930d58b6ba/mausoleum.jpeg" /&#62;
	

Mausoleum


Music, sound design and game audio was commissioned for Natsuki Hanazaki’s video game installation Mausoleum. 


The work was first presented at the Goldsmiths, University of London Fine Art degree show (2021), and exhibited later in the year in Tokyo.&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/e4850eec0bef2a1976fb682485630e6ee467af7790622e7f9d2e194af51d3e75/E65w-Q0XIAANKO1.jpg" data-mid="168933441" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e4850eec0bef2a1976fb682485630e6ee467af7790622e7f9d2e194af51d3e75/E65w-Q0XIAANKO1.jpg" /&#62;

 
&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/15fe93eee1b296d3c8bcc9de8c2cd1c8940353f1d94e3b89d5b22bc9a1bae3e6/E65w-RkWQAMvArJ.jpg" data-mid="168933352" border="0"  src="https://freight.cargo.site/w/1000/i/15fe93eee1b296d3c8bcc9de8c2cd1c8940353f1d94e3b89d5b22bc9a1bae3e6/E65w-RkWQAMvArJ.jpg" /&#62;
&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/1320312936578ee85d98fb4ade5f5ebd05f6e653f60d08068fbdda6528b1a192/E65w-Q1XIAEOhIb.jpg" data-mid="168933303" border="0"  src="https://freight.cargo.site/w/1000/i/1320312936578ee85d98fb4ade5f5ebd05f6e653f60d08068fbdda6528b1a192/E65w-Q1XIAEOhIb.jpg" /&#62;


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