My writing practice moves between fiction, essay, and field-based reflection — exploring how language shapes experience, memory, and belief.
These texts often extend from the same concerns as my visual and performative works: the interplay between myth and landscape, history and ritual, thought, its physical traces and noumenal resonances.

The following pages gather recent and ongoing writings — both fictional and reflective — that continue to test the boundaries between narrative, document, and event.

Some works (such as The Great Antler Ley) emerge from the edges of genre — part speculative field guide, part poetic manuscript — blending sonic archaeology, personal mythology, and ritualised ethnography.

Fiction

My fictional works reimagine historical and mythic material, drawing from folklore, ritual, sonic traditions, and language as living artefact. These works walk the edge of speculation and invocation — not bound by realism, but by resonance.

They are conceived as Ritual Digital Artefacts: independent editions that inhabit the liminal terrain between story and document, performance and page, fiction and fieldwork. Each piece becomes a site-related text, rooted in time, place, memory, and myth, but charged with new frequencies of sense and meaning.

Essays

My essays emerge from the same mytho-poetic terrain and historical practice that inform my creative works — exploring resonances between landscape, memory, ritual, and language. They are shaped by performance, fieldwork, and lived inquiry, tracing not only the content of thought but the structures through which it is formed.

Comprising critical fragments, annotated field texts, and para-academic gestures, these writings examine how knowledge is made, where it resides, and how it is transmitted or embodied. Some essays pursue questions of pedagogy, cultural memory, and historiography. Others critically reflect on the processes and ethics of artistic creation and reception.

Each text is positioned as an artefact of attention — offering a considered response to the interplay between artistic method, social context, and the invisible architectures of experience.

Poetry/Poet-Poetry

My writing moves along the seam between poetry and what I call post-poetry — between invocation and system, between the breath of lyric and the hum of mechanism.

Some texts still follow the trace of the poem: rhythm, address, the pulse of a line unfolding across silence. Others abandon these structures, leaning instead toward repetition, fracture, and erasure. Together they form a continuum in which language behaves as material — not to communicate, but to enact attention.

Post-poetry names a condition rather than a genre. It describes writing that performs rather than represents, where the act of reading or listening becomes part of the work’s event. Meaning is suspended; sense becomes texture. The poem, no longer a container for emotion or narrative, turns into a site of perception — a threshold where the visible and invisible negotiate their terms.

This practice arises from the same concerns that have long shaped my work in art, performance, and pedagogy: the search for a form equal to the instability of experience, and for a language capable of holding what resists articulation. Each text is both utterance and aftermath — a document of what happens when language reaches its limit and continues to vibrate beyond it.

The distinction between poetry and post-poetry is therefore porous. One dissolves into the other. What remains is an attention to how language behaves when stripped of certainty — a grammar of suspension, silence, and return.

Trids

Some of these concerns extend into a body of work I call Trid — a triadic field of text, image, and action.

Trid names a body of work that extends my poetic practice into a triadic field of text, image, and action. Each work gathers these three elements in shifting proportions — sometimes performed through endurance and gesture, sometimes reconstituted from existing documentation, sometimes residing quietly on a page, postcard, or online, where reading itself becomes a performative act.

The Trid operates through renewal and return: older works are revisited and re-inscribed with new textual triads, creating layers of reflection and resonance. Whether enacted, overlaid, published, or read, each Trid occupies the interval between making and marking, surface and utterance — where language behaves materially and performance persists through trace and attention.

Essays, Reflection and Field Writing