Music Production & Composing:
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My passion for soundscapes, audio design and melancholic music composition with Audrey Vixen is where things really began (Back in 2001) when I fell in love with the intricate production on records from bands such as Massive Attack, Sigur Rós, Hybrid, Future Sound of London and Nine Inch Nails.
I was transfixed by how certain keys and movements in music copuld genuinely move you and make you feel a range of emotions, I gravitated towards these deeper, darker sounds and the 'Audrey Vixen bassline' I am most known for really stemmed from this.
On the DAW (digital audio workstation) studio side, I have been primarily using Steinberg's Cubase since 2024, prior to that it was Logic Pro and Pro Tools (as far back as 2001-2002).
My music is crafted almost entirely digitally, utilizing a vast array of synths and plugins. I rely heavily on Native Instruments' Kontakt and Reaktor to host granular synthesis and instrument libraries such as Bioscape, Arkhis, Sequis, Lunaris 2, and Fables. While I employ tools from respected developers like Fallout Music Group, Kael Alden, and Luftrum, sampling is also achieved with Splice. My all-time favorite synth remains Absynth, which has been a staple of my workflow since 2013.
Bit of trivia, the song that really flipped the switch in the kind of experimental, dark music I wanted to create was 'Gunning Down Romance' by Australian duo, Savage Garden in 1999.
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No generative AI tools are used in the production of my music, film scores or sound design.
My Artistic Philosophy:
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In a word, my work is unconventional.
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To me, the "how" is always secondary to the "what." I am a mixed-media artist blending traditional art, photography, and analog video with experimental digital techniques and ethical AI toolkits. My goal is to realize a unique vision—one that requires bridging disparate methods that, on the surface, shouldn't work together.
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My work explores the intersections of vintage aesthetics, horror, and the taboo, with a focus on religion, sex, and anatomy.
The staples of my digital artistic workflow are Affinity, Mosh Pro, Krea, Nano Bananna, Scarlett and a vast array of overlays and LUT's from studio's such as AcidBite and Dan Robinson. On the traditional side, I have always used Faber-Castell for my drawing and sketching.
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The Ethics of My Workflow:
I am not blind to the ethical concerns surrounding generative AI. It is a complex, often fraught landscape. However, I believe in the power of these tools when used with intentionality. For a solo creator on a small budget giving all of my work away for free, ethical AI acts as a vital bridge and a force multiplier; it allows me to achieve a scale and complexity—from intricate motion design to high-fidelity visuals—that would otherwise be financially and technically impossible to realize.
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By embracing these tools, I am able to remain a truly independent artist. This technology provides the economic sovereignty to bypass industry gatekeepers and keep my work open-source and accessible to everyone through Creative Commons.​​
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Video & Motion:
To translate these static visions into motion, I employ a specialized suite of translation tools. I use Google Veo and Hailuo for motion generation, Topaz Labs for technical upscaling and clarity, and AcidBite overlays for stylistic film effects and LUTs.
The final assembly is edited, graded and fine tuned within Movavi Video Suite.​​
Ethical AI in Visual Art: Transparency and Commitment
AI in the creative space is a lightning rod for debate, and for good reason. While I understand the trepidation surrounding the unconsented use of data, I believe that when used with intentionality—specifically when models are trained on an artist's own body of work—AI becomes a powerful new digital canvas.
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For my specific brand of horror, tools like Flux, Nano Bananna and my Scarlett models are more than just software; they are collaborators in achieving the "uncanny." That specific, otherworldly vibe—the sense of a waking nightmare—is something I can only realize by remixing my original photography and design assets through these neural networks. It allows me to distort anatomy and texture in ways that traditional digital manipulation cannot replicate on a small budget.
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All of my art is available to download and use in any way, shape or form (even commercially) through Creative Commons.
