Mark Peter Wright

Completed PhD Student

2011 - 2015

Mark Peter Wright is an artist, lecturer and researcher working across sound, video, assemblage and performance. His practice explores the relationship between humans, animals, environments and their associated technologies of capture: critically disturbing Nature sound recording tropes and site-specific legacies.

He has exhibited and published over various international sites, galleries and platforms including Art Licks, Caught by the River, Centre for Creative Collaboration, Corbel Stone Press, Flat-Time House, Gruenrekorder, GV Art, Interference Journal, IMT Gallery, Lydgalleriet, Museum of Contemporary Art Rome, Musicworks, New York Public Library, MIMA, Or-bits, Paccar Gallery, Platform A Gallery and TATE. He has delivered papers at institutes including the British Library, Centre for Possible Studies, Goldsmiths University, Harvard University, ICA, Parasol Unit, South London Gallery, University of Copenhagen and Yorkshire Sculpture Park. 

With Helena Hunter he collaborates on the research project Matterlurgy. With Salomé Voegelin he co-convenes Points of Listening. He is also the founder of Ear Room.



Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts


How is agency distributed “in the field” and how can the practice of field recording critically manifest the relationship between humans and non-humans?

This practice-based PhD examined the poetics and politics of listener-subject relations within environmental sound art practices. Employing theoretical critique from postcolonial studies and new materialism, I proposed a hybrid conceptual framework that foregrounded issues relating to ethics, materiality and agency. These areas were examined through practice by converting “the field” into a collaborative and contested arena for intervention and performance, which I call the “Contact Zone”. The result was a unique and formally diverse body of work that critiqued and re-imagined the ontological foundations of field recording whilst radically challenging aesthetic modes of documentation and production.

Funded by the Arts and Humanities Research Council.