About Leeway Projects

I came to digital practice through sound. In the 1990s, I began learning Max/MSP and SuperCollider, drawn to the possibility that code could become an instrument: something to improvise with, take apart and remake. That early encounter still shapes how I work. I’m interested in systems, but even more interested in who gets to use them, whose knowledge they carry and what new relationships they might make possible.

Since then, I have moved between composition, critical sound studies, feminist archival work, teaching, community organising and building things for the web. Leeway Projects is where those strands meet. It gathers a body of work that does not divide tidily into creative, academic, technical or political categories, and was never intended to.

Much of my work begins with material that has been overlooked, marginalised or is in danger of disappearing. Projects including Her Noise, Feminist Frequencies and Sound::Gender::Feminism::Activism grew from a desire to recover and recirculate marginalised histories of sound, not simply to preserve them, but to put them back into conversation. That thinking continued through projects such as AveloSpace and Gender Panic, where making, programming, skill-sharing and collective infrastructure became ways of building queer and transfeminist community in Athens.

The digital work is not separate from this practice. Websites, archives and learning platforms are some of the forms through which the work happens. I have built web publications, artist sites, digital archives and multilingual education platforms; maintained ageing WordPress installations; configured online learning environments; migrated large bodies of content; and written guidance that helps other people understand and use complicated systems.

I enjoy the often-invisible work of making those systems function: tracing the source of a broken layout, finding a structure within a disorderly archive, untangling permissions, or rewriting instructions that only made sense to the person who created them. These details matter because they determine whether somebody can enter a space, find what they need and participate in it.

Across my PhD in Critical Sound Studies, my teaching and research at University of the Arts London, my creative practice and my work with cultural, community and European education projects, I have kept returning to a related set of questions:

• Who gets heard?
• What disappears when histories are organised by dominant institutions?
• How can digital platforms support participation without pretending that technology is neutral?
• What can we build that other people will be able to use, adapt and carry forward?

My experience as a queer, non-binary person is part of how I understand access, power, representation, care and collaboration. It is not a specialist subject added to the work afterwards; it shapes the questions I ask and the ways I choose to work.

Leeway Projects is therefore less a catalogue of completed jobs than a working archive of experiments, alliances, practical solutions and unfinished questions. I’m interested in collaborations that allow these different parts of my practice to meet, particularly where digital platforms, archives, sound, education and community-led cultural work overlap.

I’m available for freelance projects and collaborations across digital platforms and archives, research and education, sound, and community-led cultural work. Get in touch if you’d like to explore what we might make together.