Objects that turn movement, light and magnetism into sound, hardware built for other artists, and a performance that runs speech through machine translation. The objects were modelled, printed, cut, wound or assembled by hand — Shapr3D and Fusion 360 through to production drawings, everything from PLA to TPU, laser-cut acrylic and plexiglass, motors, coils and control electronics.
A chain-link bullwhip manipulated by a motor.
The drive is a geared motor on a machined arm, mounted off the wall so the chain hangs free and the whole length is allowed to fall into whatever shape the movement gives it.
Oscillating back and forth, the patterns generated by the motor meet gravity, and waves and forms emerge in reaction.
Soft forces — air pressure, smell, the atmosphere we move through without noticing — meet thresholds we rarely register, including the brief sonic boom of a cracking whip. Rhythm, material memory, and the relationship between the seen and heard.
Three spinning solar panels form a linear array beneath a fluorescent lamp. As its light strikes them they generate oscillating currents. The light is made audible — not as a metaphor, but directly.
As the panels rotate they modulate how much light they receive, shaping the sound into pulses and tremolos. At low speeds this is rhythmic fluctuation in volume; as the speed rises, sidebands emerge. Each panel reacts to the others, their signals interfering.
A hanging acrylic cube carrying a driver on each of two opposing panels. Inside it a hand-wound inductor coil hangs free, derived from Bo Atkinson's work on fractal-coil circuits.
The coil swings in the electromagnetic field between the two drivers, so that the sound emitted is a direct sonification of the induction in its own feedback loop.
The coil is wound by hand. The frame is modelled and 3D-printed at the corners, the panels cut and assembled around it, and the coil suspended inside so it moves freely between the drivers.
Mechanical design and fabrication for a work by the artist Laura A Dima — everything but the circuit boards.
A 3D-printed dome and housing over a board, laser-cut plexiglass, an array of eight LEDs set into the dome ribs, solenoids, and a lower layer carrying six motors and three drivers.
Designed and modelled in Shapr3D, taken through to production drawings for laser cutting, and sliced with per-part settings to her specification. Eighteen versioned stages between May and September.
A transparent greenhouse running experiments with technology, image and sound, built for the Kaderock festival at Musicon in The Hague, 5–6 June 2026.
I curated the ArtScience contribution to it, working with artists from The Hague, and organised and conducted RecPlay for the same festival — the ensemble's final performance, as conductor and live mixer.
The work on site was structure and rigging as much as programme: building out the space, hanging and powering the lighting and sound, and keeping a full day's programme running inside it.
A concert series for noise and experimental music. Two editions in 2026, both on empty industrial floors in The Hague.
I curate the bill and organise the evening — the acts, the space, the door, the running order. The first edition also ran a vegan dinner before the music.
Both editions arranged light, sound and audience into a bare room so that people stand around the performers rather than in front of a stage. Entry was €8, and nobody was turned away for lack of money.
A live performance about communication, belonging and life between languages. I speak a sentence in English; the machine translates it into Thai and speaks it back in a clone of my own voice. I repeat the Thai by ear, the machine transcribes what it heard and translates it back, and the loop begins again.
With the performer taken out of the loop, the machines recover the Thai exactly within three cycles. With me in it, recognition falls from about 99% to 69%, and the sentence drifts. The gap between the machine's fluency and mine is the piece.
It runs on one laptop, on open models, with no network: speech recognition, translation and voice cloning, written in Python.
Kinetic sculpture, self-built electronics and sound. I build the instruments the work needs — inductor coils, contact microphones, transducers, motorised mechanisms — and the pieces make sound as a consequence of how they are made.
I also design and fabricate hardware for other artists' work, from CAD through to production drawings.
BA ArtScience, an interfaculty programme between the Royal Academy of Art and the Royal Conservatoire, The Hague, 2022–2026.
Two years of data technician training in programming, Copenhagen.
Performs as Losing Hands. Organiser of the NO COMPRESSION series.
contact@tokejuhoklee.com
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