performance / video / sound / installation
i work in music, performance, and film to trace ruin, residue, and the aftermath of identity.
anoukmakes
contact: [email protected]
instagram: @beinflowr
gemstone beach
together again
origins
→ LISTEN: "GEMSTONE BEACH" ON SOUNDCLOUD
granular drift, coastal decay, and choreographed performance,
2025
Gemstone Beach is a textural composition shaped by tidal drift, granular sound, and submerged rhythm. Named after the southern Aotearoa coastline where gemstones surface and vanish with the tide, it evokes themes of erosion, constraint, and glittering collapse.The production draws on artists like Félicia Atkinson and Kali Malone, using filtered field recordings, soft noise, and low-end pulses to render a heaving, yearning atmosphere.Originally a standalone track, it has been adapted into a choreographed performance for the theatrical setting of Carnivorous 2 at PACT Underground. It formed the second movement in a three-part interdisciplinary work viewable in the site gallery.With masi cloth, a typewriter, and grounded repetition, the body became a site of inscription, tracing ritual tension and inherited gesture.
→ listen: “Together Again”
delay, restraint, and the edges of self, 2025
Together Again is a slow-burning vocal piece built on overlapping delays, soft panning, and minimal harmonic movement. Influenced by artists like Grouper and Claire Rousay, the voice sits at the edge of translucence, with delay and breath artifacts shaping the emotional contour.Originally performed with projected video—falling stars, static, liminal light—the piece reflects on the circular drift of self love. Its quiet intensity lies in presence, not resolution.
[by Anouk - Fall 2022]
→ VIEW LIVE PERFORMANCE OF TOGETHER AGAIN IN THE GALLERY
→ listen: “Origins”
language slips, and the body becomes environment, 2025
Origins is a live vocal work shaped by submerged melody, layered effects, and amphibious symbolism.it was first developed in 2024 for The Monstrous Feminine at Goodspace Gallery, Chippendale (with percussion by Imogen Temple), The piece was later reimagined in full costume for Carnivorous 2 at PACT Theatre, Erskineville (2025), featuring vocal contributions by Tahi White.The track draws on ritual sound traditions and experimental vocal performance, with sonic affinities to artists like Lyra Pramuk, Félicia Atkinson, and Moor Mother. The soundscape unfolds as a soft metamorphosis—voice as tide, breath as creature, body as unstable vessel. Emerging through distortion and decay, Origins navigates themes of feminine multiplicity, mythic embodiment, and the porous edges of voice, identity, and environment.
→ VIEW LIVE PERFORMANCE IN THE GALLERY
Origins – Performance Gallery
Fragments from the live performance of Origins at PACT Theatre & Goodspace Gallery.
A work of breath, breakdown, and post-human ritual.
Together Again - Performance Gallery
Fragments from the surreal audiovisual work Together Again. A looping study in digital closeness, phantom reunion, and soft recursive gesture.
Gemstone Beach - Performance gallery
A heaving sub bass tide, thick with granular pull - undertow swells like fault lines beneath sand, pressure mounting, fracturing, flooding breath.
Film
Selected video works exploring staged detachment, ritual gesture, and visual sound.
Each piece sits between performance and moving image — where narrative dissolves, and form follows tension, rhythm, and emotional residue.
Steve – Music Video
Directed by Anouk (2024)
Commissioned by Supahoney
@supahoney_Composed from layered visual fragments, Steve assembles recurring motifs—skull masks, fencing, concrete ruins, and a vacant gold face—within a framework of looping detachment. There is no central figure; instead, the piece drifts through constructed symbolism that evokes ritual, estrangement, and emotional burnout.Drawing influence from Roy Andersson, early Radiohead videos, and the visual language of post-punk, the piece resists narrative structure in favour of mood, tension, and visual fatigue. Lo-fi digital textures and fixed compositions mirror the band’s restrained, emotionally raw sound.
Rave Tears – Music Video
Directed and edited by Anouk (2024)
Commissioned by Aleks Matic
@aleks.maticA digital composition that merges trance aesthetics with Y2K-era visual language. Rave Tears draws on early VJ software, 2000s media player visualisations, and post-internet animation styles. Teardrop motifs, pulsing symmetry, and mirrored portraits form the core structure, creating a looping field of emotional intensity.The work references the visual maximalism of Jesse Kanda and early MTV Dance edits, while nodding to the ornamental distortion of artists like Pipilotti Rist and Takeshi Murata. Emotion here is treated as form: animated, fractured, and spinning within soft-edged digital space.
Dream Big Kid – Music Video
Directed and edited by Anouk (2025)
Commissioned by Boginikua
@djx2nytA choreographed visual work blending ritual, animal movement, and surreal lighting. Dream Big Kid builds from low, creature-like gestures into shifting group formations that echo pack dynamics, courtship, and controlled aggression. The minimal costuming and masked performers create a space between human and animal — instinctual, theatrical, and uncanny.Influenced by the physicality of Pina Bausch, the stylised movement of Holly Blakey, and the dream logic of Claire Denis — where pacing follows sensation more than plot — the video unfolds like memory or instinct. Fragmented structure, visceral gestures, and rhythmic repetition allow emotion to surface through texture and movement, not dialogue or resolution.Soft overlays, cold lighting, and glitch textures distort the body into something feral and symbolic.Dream Big Kid doesn’t tell a story — it unfolds like a ritual: bodies moving between instinct and symbol, animal and human. It uses Bausch’s physical language, Denis’s dreamlike pacing, and Blakey’s stylised unease to create a space where emotion is not explained, but felt through motion, formation, and glitch.
Light
Artist: Aleks Matic
Director / Editor / Visual Composition by Anouk
Release: 2025Light is a visual composition exploring fragmentation, ascension, and the instability of presence. Created for Aleks Matic’s 2024 single, the work blends luminous distortion with layered gesture—portraits split, blurred, and refracted across shifting digital light fields.Drawing influence from artists like Pipilotti Rist, Ryoji Ikeda, and LaTurbo Avedon, the video renders the body as a passing signal—unstable, luminous, barely held together. Sacred symmetry and pulse-based editing echo trance states, referencing both Daniel Crooks’ temporal slicing and the ambient mysticism of rave culture. The result is a meditation on identity as apparition, where glitch functions not as error, but as refusal of fixity—a visual nod to Legacy Russell’s Glitch Feminism.Light forms part of an evolving series of music works investigating emotional intensity and spectral embodiment through surrealist compositional language.
Culture: What Remains
What Remains is a living gallery dedicated to diasporic expression—works shaped by the legacies of dislocation, memory, and cultural survival. Moving between film, choreography, sound, sculpture, and spoken word, each piece speaks from the thresholds of identity, where inherited gesture and fragmented ritual persist despite rupture.These works share no fixed medium. Instead, they recur through elemental forms: masi cloth, fractured language, devotional pacing, and sonic residue. Together, they trace what endures—sometimes quietly—when home is scattered across oceans and generations.Each installation studies the tension between preservation and disappearance, between the archive and the body. Layered media hold fragments of cultural memory that resist closure—inscribed, obscured, and sometimes unravelled.The first installation, La Tropicana, emerges from this context. Set across audiovisual movements, it explores Pacific diasporic life through embodied citation and reimagined sound. From postcolonial childhood in 1980s Manawatū to rising sea levels and fading languages, La Tropicana offers a meditation on ritual, resilience, and the fragile continuity of care.
Duration: 17 minutes
Created by: anouk
Commissioned for: PARADISEC’s 20th Anniversary Pacific and Regional Archive for Digital Sources in Endangered Cultures
Medium: Performance film with original sound composition, archival material, live action, and projectionLa Tropicana is a short film composed as a work of appropriation art, reflecting on diasporic consciousness through fragmented memory, layered ritual, and inherited material. Created for PARADISEC’s 20th Anniversary, the film blends four audiovisual tracks—each originally composed as a standalone piece—into a nonlinear meditation on identity, cultural transmission, and loss.The work draws on personal and regional history, using both original and publicly sourced material (including YouTube and PARADISEC archives), to explore what it means to survive cultural rupture. Throughout, masi cloth—undecorated and handmade by the artist’s family—anchors the body in acts of mourning, relation, and resistance.I. Witness (0:00–4:00)
A study of childhood across the 1980s, 1990s, and early 2000s in middle-class Manawatū, Aotearoa (NZ). Set among mixed cultural communities including Chinese-Fijian, Rotuman, Tokelauan, Indo-Fijian, and Chinese-Samoan heritage, this movement reflects on fragmented belonging and the distance between cultural inheritance and lived place.
Live Performance: A body is wrapped in masi and laid on a mat—both made by the artist’s family—as a quiet enactment of Fijian death ritual.II. Echo (4:00–8:30)
This section considers the collision of missionary Christianity and indigenous belief systems. French Jesuit and Irish Catholic ideologies are layered with the local in the shaping of contemporary ritual.
Live Performance: A brief mime echoes the embodied act of joining those praying the Rosary—offering presence without resolution, gesture without speech.III. Interference (8:30–13:30)
Centres on the movement of the i-Kiribati people to Rabi Island, Fiji—land gifted after environmental devastation by colonial phosphorus mining. This track explores capitalism, food culture, and the commodification of Pacific identities through a lens of displacement and adaptation.
Live Performance: A stylised tug-of-war becomes the central motif—marking tension, exchange, and imbalance between global systems and local survival.IV. Re-entry (13:30–17:00)
Diasporic identity at the edge of climate collapse. This closing section acknowledges the shadow lives of migration, memory, and rising waters.
Live Performance: Talei Alani and Tahi White lie head-to-head, slowly rotating their bodies until parallel, ending with joined hands. A gesture of multiplicity, grief, and intimate resistance.
Archival Sources (PARADISEC):
Yaqona Ceremony – Albert Schütz (1961)
Lali Drum Sounds – David Goldsworthy (1986)
Hindi recordings & oral chatter – Jeff Siegel (1980–1983)
Interview with Chinese Café Owner – Jeff Siegel (1983)
Full archive catalogue
