Kettle's recording material dates to 1993, with several CD releases, compositional scores, installations and performances. His work has received extensive radioplay nationally and through numerous community radio stations around Australia. His work, heavily influenced by alchemy (training at The Paracelsus College), is riddled with transmutive processes and experiential work in the natural world.
Institute of Modern Art (july-august 2003), Small Black Box (May,2003), Listening Room (ABC, 2002), 2002AD (Adelaide Fringe), REV 2002, Liquid Architecture 2001-02, D>Art2001 (sound), Total Huge New Music Festival 2001-02 (Sound Spaces), Multimedia Arts Asia Pacific 1999, 2001, Australian Interactive Multi-media Industry Awards 1999 (AIMIA), Australian Computer Music Conference 2000,01 and Electrofringe 1999,00,01 have exhibited his work in Sound Galleries and performances.
He was the presenter/programmer for "Atmospheric Disturbances", The Experimental Musicians & Sound Artists show on Community Radio 4ZZZ fm102.1. Wednesday Night, 11pm - Midnight, from june 1998 to july 2000 and founder/curator of "Small Black Box" (2001-05), a monthly experimental music performance venue in Brisbane.
In 2005, Kettle completed the Tertia class with the Paracelsus College, Adelaide in January/February of this year.
Kettle's work 'Sol's Violin' has dominated 2004. Content to concentrate on developing the formulae further, he is attempting to synthesis Saturn's moon data into its tone and has spend considerable time on incorporating Verdic astrology systems into the composition.
A planned deviation back to laboritory work during 2003 incorporated further technical influences blending his artwork and alchemical procedures together. Having completed the Secunda class with the Paracelsus College, Adeliade in February/March of this year an aim to advance a exploration in the conscious sensory continues. Sol's Violin Exhibition at the I.M.A. is a completion of one meditation that has taken three years to complete.
It would seem that for most of 2002 Kettle has been locked up in his studio as the major production of this year has turned to computer-based editing and remixing of several tracks and compositions, including his first ABC commission for The Listening Room. Small Black Box received a small grant to develop the space. The exhibitions 'liquid_lounges' (Melbourne), 'SoundSpaces' (Perth), 'Sound Altars' (Brisbane) & "Variablr Resistance' (San Francisco) graced this year.
2001 for Kettle, focused on developing the Brisbane New Music scene with a monthly experimental music performance space, Small Black Box; completing two soundtracks for Eric Roberts & David Cox/Molly Hankwitz; and expanding his collaborative projects with The Hutt River Space Agency (Greg Jenkins/Michael Norris) and a residency with Barry Schwartz [USA] & Bastiaan Maris [Ger].
For Elektrosonic Interference, Kettle was positioned as Technical/ Artist Assistant to the international artist in residency, Barry Schwartz and Bastiaan Maris. Over 10 weeks at The Powerhouse, Centre for the live arts, Brisbane the collaboration with The Arterial Group, The Australian Voices, Keith Armstrong and Douglas Leonard culminated in three performances between 6 - 8 September, 2001.
In 2000, Kettle‚Äôs hidden senses where strongly enlived by his research into electro-magnetic radiation as a sound source, creating the ADAPT 2000/ Gratings / Electrofringe 2000 performances, 'Digilogue' and 'With my left eye closed...' CD releases and sound track to Junia Wulf's animation, "Gray".
His passion for found sounds and extensive, discordant layering of repetitive digital snippets lead in 1999 to complete field research into drones that culminated in the "drone 9" & "The Turing Test" (reviewed in ‚ÄòReal Time‚Äô, Dec/Jan.2000) performances at M.A.A.P.99.
Explorations of influencing Poetry with MIDI, " ... I take a sentence for a poem, sample it, program in to the midi keyboard and play with it as an instrument... fantastic patterns emerge from repetitively layering single words or short sentences."
His performance at the Queensland Arts Week (1999), was an digital poetry exercise with fellow artist, Junia Wulfe & A Short Journey. Digitalising 5 sentence scripts and then using them as a backing vocal texture.
He has presented a Masterclass on "Noise in Composition" for "ADAPT" 1999, talked at the "Community Radio & Electronic Music" Panel - National Independant Electronic Labels Conference 2000, "Soundscapes" at 2002AD, part of the Adelaide Fringe 2002, and appeared at the ElectroFringe Festival (1999 to 2001) in Newcastle, performed at the AIMIA Awards, assisted the ACMA 2000 conference ‚ÄòInterfaces‚Äô as a member of the steering committe, performances, and a series of 4 Radio shows.
"My initial exposure to non-music sounds came from listening to the radio in rural Queensland, as a young boy, the reception was mostly difficult so I developed a great interest in these broadcast noises, especially sunspot activity."