prOphecy sun

Mothered Spaces

Samples include:

Vocals by prOphecy sun and Haakens Sun-Fleet
Domestic and radio sounds by prOphecy sun
The fetal heartbeat of an unnamed in utero third Sun-Fleet
Guitar by Darren Fleet

Since 2013, my creative practice has largely remained focused on the tensions of caring for others and the mutability of the dream space. I define this space as the hypnagogic lucid realm between sleep and wakefulness. Much of this research has taken shape through sonic and material form, exploring the mutable potentiality of inflatables through the lens of mothering and connection. I use recycled, sac-like, transparent plastics in novel and chanceful ways such as inflating, caring for, and dancing with their shapes in urban and rural environments. Alongside these visuals, I have also created sonic compositions to capture each interaction’s immersive and sonic feel in the location.

Mothered Spaces (2022) continues this sonic exploration, consisting of blended, textural, cyclical melodic and rhythmic looping sequences that lift, untangle and highlight the energy of my everyday domestic experience. The collage-like style work features vocal utterances and elongated tones that swim alongside children's voices and guitar chords. In this realm, it feels like a clock runs for 24 hours on all sides; events are meshed into other tasks, while breath, memories and activities organically unfold into one another. Truncated, reverberating and transparent with no clear beginning, middle or end, the piece is dreamlike and slips forward into other days. Revealing aspects of my nostalgic maelstrom, the work is a reminder of collapsed mothered time. Like care work which extends beyond my body and through acts of connection with other bodies, species, and things, the composition highlights the in-between moments and complexities of caring for others and is in essence a reflection on motherhood. Succinctly put, the work is an ode to the fluidity of care work through multiple blended vantage points and an ode to finding breath in the tangible spaces somewhere in the eye of each storm.


Image Description:

Dark grey smoke billows upwards from the centre of the light grey screen. As the cursor moves, the smoke billows out from the cursor movement, filling the screen. The speed of the cursor movements controls the density of the smoke, with faster movement producing more smoke.

Sound Description:

Overlapping tonal voices sing a repetitive echoing riff. Children’s voices and a light bass line join. Snippets of children singing from Paw Patrol give way to light tonal voices that return to pieces of the opening riff heard through ominous sounding echoes. The sound feels spacious and expansive with gentle echoes and household noises in the background. It is durational and stretches out for several minutes with only subtle changes to the sounds that filter through the echoes. A whomping sound becomes clear through the echoes, and the children’s voices return singing their own songs singing the same line over and over again over the unchanging background sounds. A mother’s voice breaks through asking about socks, returning the sound back to the shifting and swirling echoes. A guitar joins the riff from the beginning, giving it more musical grounding. The sounds momentarily sound cohesive around the guitar. A woman’s voice sings “slow down”. The echoes return and slowly give way to silence.


prOphecy sun (Ph.D.) is an interdisciplinary performance artist, queer, movement, video, sound maker, and mother. Her practice celebrates both conscious and unconscious moments and the vulnerable spaces of the in-between in which art, performance, and life overlap. Her recent research has focused on ecofeminist perspectives, co-composing with voice, objects, surveillance technologies, and site-specific engagements along the Columbia Basin region and beyond. She hosts Tapes and Beyond on Kootenay Co-op Radio and is the Arts Editor for Ecocene: Cappadocia Journal of Environmental Humanities. She performs and exhibits regularly in local, national, and international settings, music festivals, conferences, and galleries and has authored several peer-reviewed articles, book chapters, and journal publications on sound, performance, and the entanglement of domestic spheres.