samarobryn / w. sze tsang

My name is w. sze tsang, and I am an audio-visual artist, performer and researcher living in Boorloo/Perth, Western Australia. I perform under the name samarobryn.

My work is based on how art and technology can facilitate connections between place, self and composition.

I acknowledge that I live, work, and play on the unceded lands of the Whadjuk people of the Noongar nation, and pay my respects to elders past and present.

Projects:

ARIA: Song Unseen (2025 - current)

Audio design and sound composition.

An ongoing collaboration with Catherine Gough-Brady and Cassandra Tytler. Using augmented reality and sound as narrative tools to reveal the hidden destruction of Perth’s urban canopy caused by the polyphagous shot-hole borer in Hyde Park/Boodjamooling.

Veils (2023-current)

Laptop and guitar performer.

Veils is an open collective of artists exploring the boundaries of sound and visual art through dark, improvised soundscapes.

Featuring: plyanci, scientia, tenebrae, tu hüs.

Meet Me In The Garden (2022-current)

Audio-visual works, sound editing and text.

An ongoing project by Claire Billie Bushby, w. sze tsang and Mark Wahlsten that explores suburban gardens in Western Australia and the relationships between gardeners, plants and local ecology. The project combines sound, print, sculpture and video to examine how individuals connect with their gardens and the interactions between humans, pets, wildlife and plants in these suburban environments.

Mata Mata (2026)

Composer/Sound Designer for Harrison Cook.

MATA MATA is an offering through the act of solo dance. A summoning of the ancestral spirits that reside deep within the awa.

Carbon Synthesis: Spatial Dissonance (2026)

Sound design, audio-visual work (A New Form Of Life) and video editing for Donna Franklin.

A New Form Of Life is a response to Donna Franklin’s explorations into other-than-human entities. The creation of the work reflects the creation of xenobots (aka synthetic constructs) – through taking an element of the clawed frog (Xenopus laevi) and programming it for a certain function. Here, the image of Xenopus laevi rRNA drives a digital autonomous musical instrument, with the movement of the cursors shaping the audio composition. Accompanying the instrument are various field recordings of ice as it melts and grinds, as a way of invoking the environments of other-than-human entitites that live in conditions beyond most lifeforms.

What The Birds Told Me (2026)

Sound and video artist

What the Birds Told Me is an intimate, multi-sensory exhibition that centres the wisdom and presence of local birds as messengers, teachers, and companions in times of change.

Call Me Mother (2026)

Sound Designer for Scarlet Rose.

A new mum reflects on their existence as a queer bodied person and how the patriarchy has f***ed them from the moment they were born, right through to the birth of their son.

The Last Stand - CURRENT Gallery (2025)

Audio-visual works.

“The Last Stand” is a series of works incorporating the gallery space in its current form (both aurally and visually), and other aspects of its physicality as an active part of the creation of work, as well as reflecting on its past. The work ultimately culminated in a live performance inside the gallery space, to mark the end of the residency. The title of the residency is inspired by the the Rottnest Island Pine (Callitris preissii) on Cantonment Hill – one of the last remaining stands on the WA mainland.

The Last Stand @ Current

Fall.Small.Pivot (2025)

Sound design for Cassandra Tytler.

Fall.Small.Pivot. transforms the roller rink into an abstract field of colour, motion and impact. Rather than presenting the sport as spectacle, the work draws attention to the physical intelligence of skating – falling, supporting, adapting in real time – as a study of interrelation and shared responsiveness.

In the Shadow of Small Acts (2024)

Sound design for Cassandra Tytler.

This place-based audio-visual artwork is a pilot project that explores the relationships between human activities, the Jarrah Forest, and the smaller life forms inhabiting Noongar Boodjar in the South-West of Western Australia. It asks: What does it mean to coexist with an environment and truly listen to the land, rather than attempt to dominate it?

Digital Fellowship Program (2024)

Audiovisual work.

Three-month mentorship with Betty Sargeant through Creative Australia on digital artistic practice. As part of the program, I also created a new work using Touchdesigner and field recordings.

Night Dancing (2022-24)

Sound for Ainslie Allan.

NIGHT DANCING is an outdoor roaming experience: part dance, part sound installation, part community gathering. It explores the safety of female and non-binary bodies in the street after dark, weaving the subtle poetry / politics of walking and witnessing into unexpected pockets of the city.

You're So Brave (2022)

Composer and cultural consultant for Georgi Ivers.

Georgi is (almost) 21, chronically ill, acutely naïve – and moving to Hong Kong on taxpayer dollars. Armed with her best survival tools (anti-inflammatories, immunosuppressants and avoidance), this autobiographical solo show explores illness, healing and impermanence in a city under the growing shadow of an authoritarian regime.

Djenark (The Silver Gull)(2021)

Audio-visual works.

Four audio-visual works commissioned through The EDITHS, based at Edith Cowan University's School of Education, for the Feminist responses to climate change: Unruly experimentations for unstable times exhibition. The series explores the spiritual and connected dimensions of Djenark using field recordings, music visualisation, audio processing, sonification, and vocals.

Cladia (2021)

Graphically-notated score and field recordings.

Composed for the Greywing Ensemble, based on an image of the Cladia genus of lichen. Featured as part of the Banksias Under Snow exhibition.

Automata (2020)

Audiovisual work.

Commissioned by Tura New Music through Tura Adapts: @TheRoots program. Combining automated sequencers with aspects of nature, Automata invites viewers to imagine themselves on the banks of the Warren River, watching small organisms moving under the surface.

The Dirty Mother (2019-22)

Sound designer and guitar performance for Michelle Hall.

The Dirty Mother is an autobiographical, post-natal descent story that follows one woman through pregnancy, childbirth and into the confounding world of motherhood.

Bundanon Artist-In-Residence (2018)

A week-long residency at Bundanon where I explored creating works intertwining history of place with personal history.

Silence Awareness Existence Residency Program (2016)

A month-long artist residency at Arteles Creative Centre, Finland, where I created a series of works using field recordings, contours of the landscape rendered into percussion lines and histogram data from photographs.

Civil Eyes // The Wild (2016)

Audiovisual works, guitar performance.

Artist residency and performance with poets Aaron Kirby and Eleanor Malbon, as part of the You Are Here festival, Ngambri and Ngunnawal countries/Canberra.

Written with an eye for capturing the starkness, danger and beauty of the Australian landscape, Civil Eyes // The Wild draws the audience into asking where familiar concepts of ‘wilderness’ fit with humanity’s rapacious ecology, as well as engaging with personal questions of life and death outside the city walls.

The Light That Is Waiting (2016)

Graphically-notated score, field recordings, guitar performance

Performed alongside Nicole Canham and Decibel as part of Nicole Canham's 2016 Peggy Glanville-Hicks Address, The Poetry of the Present, and funded by the Difficult Commission Fund.

Bogong Centre For Sound Culture Supported Residency (2015)

Artist residency in the Alpine Region of Victoria, Australia - Bidawal, Dhudhuroa, Gunai–Kurnai and Nindi–Ngudjam Ngarigu Monero countries - where I explored the connections between place, photography and sound.

Journal entry #1, #2, #3, #4.