James Bulley (b.1984) is an artist, composer and curator whose practice explores place-specific installation, locative sound and sound sculpture. He has exhibited and performed at the Royal Festival Hall, the Barbican, the Natural History Museum, Mykolas Žilinskas Gallery and La Gaîté Lyrique. His work has been featured by the BBC, ITV, the Quietus, the Daily Telegraph, Nature and the Guardian.

Installation work includes Tactus (2015), a touch–sound landscape (exhibited at Kaunas Biennial, commissioned by Crafts Council UK) and Living Symphonies (2014), a forest–located sound installation by Jones/Bulley (commissioned by Sound and Music and Forestry Commission England). As part of a long term partnership with the systems artist Daniel Jones, Bulley was nominated in 2012 for British Composer of the Year for the real-time multi-channel radio re-composition Radio Reconstructions.

Work for film includes the sound score and sound design for Steven Eastwood’s 2017 documentary Island, and Edward Scott-Clarke’s 2017 environmental documentary E-LIFE.

Theatre works include the score for Non Zero One’s you’ll see me sailing in antarctica at the National Theatre (2012), and this is where we got to when we came in at the Bush Theatre (2011), which won a 2011 Off West End Award for best entertainment. Bulley also has a longterm collaboration with sonographic artist David Shearing which has included and it all comes down to this (2012), an immersive landscape installation, awarded gold for Installation Design at the World Stage Design awards 2012, and The Weather Machine (2015), a sonographic installation driven by atmospheric conditions, awarded silver at the World Stage Design exhibition 2017.

Curatorial projects have included Longplayer Day 2017a 12-hour exploration of time and duration with Jem Finer, Helen Frosi and Philip Serfaty, SHO-ZYG (2012), curated with Kathrine Sandys, and A Concert of Sound Arts at the Queen Elizabeth Hall (2013). In 2016 Bulley worked with composer and turntablist Shiva Feshareki to realise the world premiere of Daphne Oram’s seminal Still Point with the London Contemporary Orchestra.

In 2014 Bulley co-directed the Sound Art Curating conference at Goldsmiths, University of London, and he is editor of a forthcoming issue of Leonardo Electronic Almanac on the subject of the curation of sound art (2018). He is a guest lecturer at the Royal College of Art; Goldsmiths, University of London; Camberwell College of Arts and the University of Surrey. Bulley also leads sound-based workshops with artist Helen Frosi at the British Library.

Bulley is a current doctoral researcher in Sonic Arts and graduate representative for the Unit for Sound Practice Research at Goldsmiths, University of London. He is a member of the New Radiophonic Workshop and a trustee of Longplayer.


contact @jamesbulley.com