BIO

ALEXIS WEAVER is an electroacoustic composer based in Sydney, Australia. Alexis grew up on the South Coast of New South Wales learning flute, voice and harp before commencing study at the Sydney Conservatorium of Music in 2014. She now draws on this classical music upbringing in a slightly different way, creating whimsical and adventurous electroacoustic works which celebrate the emotive and visceral qualities of recorded sound. While her principal interest lies in composing fixed-media acousmatic music, she has also composed soundtracks for animation, short stories, radio, dance and theatre, and has exhibited audio-visual installations. Alexis’ acousmatic and radiophonic works have been broadcast in France and Scotland (including the Glasgow Radiophrenia festival for the last four years), and featured on 2017 RMN Classical compilation album, Electroacoustic and Beyond II and 2020 New Weird Australia compilation album, Solitary Wave. Alexis was awarded People’s Choice Award and First Place in the 2015 and 2016 University of Sydney Verge Awards respectively for her acousmatic works, as well as a double Highly Commended in the 2020 Forum Wallis Ars Electronica Competition.In 2018, Alexis’ audiovisual work Frog Chorus was shown at the Australian Museum’s Culture Up Late series and Bundanon Trust’s Field Day, and her set of acousmatic miniatures, Toy Suite (2017), was diffused as part of the 2018 BIFEM Sound Gallery. A late highlight of the same year was collaborating with composer Fiona Hill and choreographer Ashley Wright to create the soundtrack for Not A Party Too Soon, a dance piece created for the pre-professional year dancers of the Sydney Dance Company which premiered at Carriageworks. In 2019, Alexis was selected as an artist-in-residence at Bundanon Trust, consequently going on to collaborate with videographer Robin Hearfield on What Are We Left With? a solo exhibition at STACKS Darlinghurst. In 2020, the Radiophrenia Festival then commissioned Alexis to write a 20-minute radiophonic work for the festival, entitled Mineral Disobedience.  Alexis completed her undergraduate studies in Composition in 2017 with First Class Honours, receiving the Iris Oakley Sutor Award for the most outstanding composition student and a place on the 2017 Dean’s List of Excellence. In January 2018, Alexis was awarded the National Council of Women’s Australia Day Prize for her research undertaken during her Honours year on the visibility and practice of female electroacoustic composers. She completed a Master of Music at the Conservatorium in 2020 under the tutelage of Dr Daniel Blinkhorn and Dr Benjamin Carey. Her research focused on creating a more accessible culture within acousmatic music, championing two new concepts: "Small Diffusion" and "The Non-Ideal Listening Space" through a series of works for headphones. This was furthered in 2020 by the inclusion of her Master's output in Jesse Austin-Stewart's curated installation, Multiple Monophonies, Massey University, NZ.  In 2021/22, Alexis continues to work as a Casual Lecturer and Tutor at the Sydney Conservatorium of Music, teaching composition, music technology and musicology. She is also a research assistant with the University of Sydney Nano Institute, working on the Nanosonic Stories education programme. Alexis is also co-founder of female composer collective lost+sound, who in 2018 launched a series of concerts celebrating established and emerging artists working in experimental music fields. In 2022, Alexis' passion for inclusivity and accessibility in electronic music will lead her to Wellington, New Zealand, to begin a PhD at Massey University.