Cast bronze

4ocm high

2024

Blown Glass

2022

‘Human Error’ is a series of sculpture created using artificial inteligence and machine learning. The system generated 3D digital models which were 3D printed and moulded before being hand blown in glass and mirrored. The machine learning system was trained on 3D scans of classical busts.

‘Human Error’ was exhibited in the ‘Simulacra’ exhibition at the Cambridge University Museum of Classical Archeology.

Photography by Susanne Turner

Central Processing Unit

Handmade Walnut grid panels

300 x 300 x 11cm

2024

3D Printed Sand / Quartz

2023

80cm High

Goddess is a sculpture from the Simularca series of works exhibited at Cambridge Univercity’s Museum of Classical Archeology.

The Simulacra series was born from a research project exploring the use of Artificial Inteligence and Machine Learning trained on 3D Scan data of classical sculpture.

Photography by Susanne Turner & Z Eastwood-Bloom

Fiber Board and Paint

250 x 250 x 8cm

2024

Exhibited in the show 'Rewiring' at Pangolin London.

Cast Bronze

1.95m High

2022

Comissioned by Peter Millard & Partners for Celebrity Cruises.

Bronze

2021

1.2m high

Commission created for The Londoner hotel, Leicester Square

Photography - Andrew Beasley

Wood & Gold Leaf
3m / 10ft diameter

Commissioned for the new Woolf Institute building at Cambridge University in 2017, 'The Confusion' is a sculpture that explores the relationships between the three Abrahamic Religions - Christianity, Judaism, and Islam. 'The Confusion' is an Islamic geometric pattern ‘pulled’ or extruded into three dimensions.

From the entrance of the building, the sculpture looks like a collection of gold lines - while from other vantage points, the true geometry of the structure comes into view.

'The Confusion' is a metaphor for looking at things from different points of view.

Photo: Richard Fraser / Courtesy the artist, the Woolf Institute, Cambridge University

3D Printed Sand / Quartz

2023

80cm High

Naiad is a sculpture from the Simularca series of works exhibited at Cambridge Univercity’s Museum of Classical Archeology.

The Simulacra series was born from a research project exploring the use of Artificial Inteligence and Machine Learning trained on 3D Scan data of classical sculpture.

Photography by Susanne Turner & Z Eastwood-Bloom

from ‘Divine Principles’
Marble
80 x 58 x 40cm
Edition of 3

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

Photo: Steve Russell / Courtesy the artist & Pangolin, London

-

Venus Celestis exhibited at:

‘Divine Principles’, Pangolin London.

‘Seeing Stars’ exhibition, The Stanley & Audrey Burton Gallery, The University of Leeds.

And ‘Beyond Borders’ at Unit Gallery, London.

from ‘Divine Principles’
Silver
18.5 x 12 x 14.5cm
Edition of 8
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

Cast Bronze

1.9m High

2022

Comissioned by Peter Millard & Partners for Celebrity Cruises.

3D Printed Sand / Quartz

2023

80cm High

Nymph is a sculpture from the Simularca series of works exhibited at Cambridge Univercity’s Museum of Classical Archeology.

The Simulacra series was born from a research project exploring the use of Artificial Inteligence and Machine Learning trained on 3D Scan data of classical sculpture.

Photography by Susanne Turner & Z Eastwood-Bloom

‘Dark Matter’ is a body of work shown at Stallan Brand Architecture Practice, Project Space, Glasgow - Dec 2022 - Jan 2023.

The show included three works:

‘ZXY I - XV’ - Ceramic and Graphite

‘Dark Matter I - III’ - Ceramic, board and Ultra Black Paint

‘A Process of Abstraction’ - Notes and Sketches by Norman Eastwood

Artists Statement

Much of my work is an attempt to figure out the world around me. In some ways we are all trying to figure out where we are from, why we’re here and where we are going. Some do that through religion, some through science and some through making art. I often try to adopt the position of an impartial observer when responding with my work to things that take a hold of my artistic interest. In this case I am failing.

This new body of work, ‘Dark Matter’, was originally meant to be exhibited in April, the show was postponed however because of the passing of my father. In some ways this is apt. The process of making this work and the subject matter is a physical act of me examining my thoughts in the later stages of his life.

Dark matter is a form of matter thought to account for approximately 85% of the matter in the universe. It is dark because it is difficult to detect but there is evidence of its presence. This body of work is about trying to fathom something unknown, that is present, but difficult to detect, maybe a thought, a vibe or something that has been unsaid. I am trying to quantify it in some way, trying to give structure and mass to something that is ephemeral and shapeless but impacting. I can feel myself trying to pull it back to something logical… which isn’t really possible.

The material, and the processes of making this work, are important. Making in clay is a ritual, an exorcizing of thought through an ordered syntax of processes; roll, dry, cut, assemble, refine. The brain enters a different state. Clay itself is a memory device, it accepts and records marks. This installation is now a series of vessels each containing something.

Sorting out my father’s possessions after his death, I found many notes and sketches. He was a secondary school art teacher. I have included something I found here, two pages, one a sketch and the other a note on abstraction. I don’t know if it was his thoughts, or he copied it down. I had never seen it before, but it felt appropriate to include it in this show.

This work is a process, and one that is ongoing.

Photography by Dafni Michalaki

from ‘Divine Principles’
Cast Bronze
80 x 40 x 60cm
Edition of 3
Photo: Steve Russell / Courtesy the artist & Pangolin, London

ZXY I -XV was exhibited as part of ‘Dark Matter’, a body of work shown at Stallan Brand Architecture Practice, Project Space, Glasgow - Dec 2022 - Jan 2023.

The show included three works:

‘ZXY I - XV’ - Ceramic and Graphite

‘Dark Matter I - III’ - Ceramic, board and Ultra Black Paint

‘A Process of Abstraction’ - Notes and Sketches by Norman Eastwood

Artists Statement

Much of my work is an attempt to figure out the world around me. In some ways we are all trying to figure out where we are from, why we’re here and where we are going. Some do that through religion, some through science and some through making art. I often try to adopt the position of an impartial observer when responding with my work to things that take a hold of my artistic interest. In this case I am failing.


This new body of work, ‘Dark Matter’, was originally meant to be exhibited in April, the show was postponed however because of the passing of my father. In some ways this is apt. The process of making this work and the subject matter is a physical act of me examining my thoughts in the later stages of his life.


Dark matter is a form of matter thought to account for approximately 85% of the matter in the universe. It is dark because it is difficult to detect but there is evidence of its presence. This body of work is about trying to fathom something unknown, that is present, but difficult to detect, maybe a thought, a vibe or something that has been unsaid. I am trying to quantify it in some way, trying to give structure and mass to something that is ephemeral and shapeless but impacting. I can feel myself trying to pull it back to something logical… which isn’t really possible.


The material, and the processes of making this work, are important. Making in clay is a ritual, an exorcizing of thought through an ordered syntax of processes; roll, dry, cut, assemble, refine. The brain enters a different state. Clay itself is a memory device, it accepts and records marks. This installation is now a series of vessels each containing something.


Sorting out my father’s possessions after his death, I found many notes and sketches. He was a secondary school art teacher. I have included something I found here, two pages, one a sketch and the other a note on abstraction. I don’t know if it was his thoughts, or he copied it down. I had never seen it before, but it felt appropriate to include it in this show.


This work is a process, and one that is ongoing.

Photography by Dafni Michalaki

Cast Bronze

1.85m High

2022

Comissioned by Peter Millard & Partners for Celebrity Cruises.

from ‘Divine Principles’
Cast Bronze
60 x 35 x 35cm
Edition of 8
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

3D Printed Sand / Quartz

2023

80cm High

Partiach is a sculpture from the Simularca series of works exhibited at Cambridge Univercity’s Museum of Classical Archeology.

The Simulacra series was born from a research project exploring the use of Artificial Inteligence and Machine Learning trained on 3D Scan data of classical sculpture.

2021

Stainless Steel

‘Forever Blowing Bubbles’ is a pair of geometric bubble sculptures commissioned for the former site of the West Ham football ground, Upton Park. West Ham supporters have traditionally sung the the song ‘I’m Forever Blowing Bubbles’ at football matches. The sculptures, which double up as climbing frames for children, explore the geometry of bubble structures, whilst recognising the rich history of the site.

Commissioned by Barratt Housing

Project Managed by Artscape Management

Collaboration with Martyn Ware, Amplify Studios & Haroun Yamou
3D Soundscape

⁣The soundscape is based on the original composition by Curtis Mayfield ‘To Be Invisible’ from 1974. It embodies a contemplative, hallucinatory ‘fever dream’ in sound and speech, enveloping the listener in contemplation on how disempowerment, dissolution, and resignation need to be transformed into re-empowerment, re-engagement, and ultimately real hope for a new future.

Martyn Ware has been a pioneer in sonic muralism for over 20 years and much of his work is collaborative and made for public space. ⁣⁣

The pulsating, revolving head on the LED screens is taken from a 3D-scan of actor and singer Haroun Yamou. Using software that analyses the volume and speed of particular elements of the audio, including the heartbeat as a pulse, he imagines what racism physiologically might feel like.

‘To Be Invisible’ was presented in ‘Breath is Invisible’, curated by Sigrid Kirk, in London in 2020.

from ‘Divine Principles’
Silver
18.5 x 14 x 14cm
Edition of 8
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

MSNGR / Mercury was also exhibited in the ‘Seeing Stars’ exhibition, The Stanley & Audrey Burton Gallery, The University of Leeds.

Collaboration with choreographer Alexander Whitley & musician Ash Koosha
from ‘Technology//Mythology//Allegory’
Moving Image

‘Technology//Mythology//Allegory’ is a body of three short films created during Zachary’s time as Digital Artist in Residence at the Scottish Ballet. The works were premiered during the Ballet’s 2019 Digital Season, and performed live at the Tramway in Glasgow, and the Fruitmarket Gallery in Edinburgh.

Each of the films in ‘Technology//Mythology//Allegory’ is based on an ancient Greek myth.

Prometheus and Epimetheus were brothers and Titans, who sided with Zeus in his war against the Titans. Prometheus represents ‘Forethought’, and Epimetheus ‘Afterthought’. This work features dancers Jamiel Laurence and Constant Vigier.

Poet Rhona Warwick Patterson was commissioned to write a poem about each work in the ‘Technology//Mythology//Allegory’ series.

from ‘Divine Principles’
Ceramic & Graphite
150 x 300 x 25cm
Photo: Steve Russell / Courtesy the artist & Pangolin, London

Created as part of 'Divine Principles', 'Sacred Geometry' is a series of sculptures made in ceramic and coated in graphite.

They reference Plato’s proposition that the five mathematical shapes -whose faces are all identical, regular polygons meeting at the same three-dimensional angles - were associated with the five classical elements; Earth, Air, Fire, Water, and Aether.

Although through progress in science and mathematics, we now know that Plato's proposition is not true, it laid a conceptual foundation on which others could, and did, build.

'Sacred Geometry' then explores the notion of the evolution of ideas through time – its forms go through a series of distortions, such as one vertex pushed or pulled, or two edges pushed or pulled.

Each shape in the series is thus evolving in form from the original proposition.

Carrara Marble
90 x 200 x 70cm
Edition of 12
Photo: Jonathan Minster / Courtesy the artist and Pangolin, London

Collaboration with choreographer Madeline Squire & musician Paul Squire
from ‘Technology//Mythology//Allegory’
Moving Image

‘Technology//Mythology//Allegory’ is a body of three short films created during Zachary’s time as Digital Artist in Residence at the Scottish Ballet. The works were premiered during the Ballet’s 2019 Digital Season, and performed live at the Tramway in Glasgow, and the Fruitmarket Gallery in Edinburgh.

Each of the films in ‘Technology//Mythology//Allegory’ is based on an ancient Greek myth.

Euphrosyne, Aglaea, and Thalia (the Three Graces) were daughters of Zeus, and were said to represent youth, beauty, elegance. They are rarely represented as individual entities.

This work features dancers Rosanna Leney, Amy McEntee, and Kayla-Marie Tarantolo, and florals by Pyrus Botanicals.

Poet Rhona Warwick Patterson was commissioned to write a poem about each work in the ‘Technology//Mythology//Allegory’ series.

Cast Bronze
36 x 28 x 14.5cm
Edition of 9

Collaboration with choreographer Nicholas Shoesmith & musician Ben Chatwin
from ‘Technology//Mythology//Allegory’
Moving Image

‘Technology//Mythology//Allegory’ is a body of three short films created during Zachary’s time as Digital Artist in Residence at the Scottish Ballet. The works were premiered during the Ballet’s 2019 Digital Season, and performed live at the Tramway in Glasgow, and the Fruitmarket Gallery in Edinburgh.

Each of the films in ‘Technology//Mythology//Allegory’ is based on an ancient Greek myth.

‘The Fates’ explores notions of autonomy and discreet control in a digital society.

This work features dancers Grace Paulley, Aaron Venegas, and Grace Horler.

Poet Rhona Warwick Patterson was commissioned to write a poem about each work in the ‘Technology//Mythology//Allegory’ series.

2017

Aluminium, Glass, Paint, Ash Timber

The façade of 11-12 Hanover Square, London has been created for Aviva Investments by Zachary Eastwood-Bloom from a three dimensional digital wireframe model of the local area. The digital model was projected, in an isometric view, onto the building to generate the lines that make the standing guards and the entrance, creating an 21st Century update to traditional Georgian style metalwork.

Zachary also created an interior artwork made from Ash timber to accompny the public art.

Project managed by Modus Operandi art consultants

Photography - Andy Stagg

from ‘Divine Principles’
Cast Bronze
195 x 123 x 121cm
Edition of 3
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

from ‘Divine Principles’
Cast Iron
98 x 47 x 39cm
Edition of 3
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

from ‘Divine Principles’
Cast Bronze
74 x 30 x 30cm
Edition of 5
Photo: Steve Russell / Courtesy the artist & Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

from ‘Divine Principles’
Cast Bronze (Bare)
39 x 38.5 x 27cm
Edition of 5
Photo: Steve Russell / Courtesy the artist and Pangolin, London

‘Divine Principles’ was born out of a yearlong residency with the Pangolin Bronze Foundry in Gloucestershire and London, UK.

‘Divine Principles’ is a series of works based on the planets of the solar system.

The series explores how humans have attempted to understand the universe from the molecular to the planetary through religion, mythology, geometry, and science.

To create these works, 3D digital models of Hellenic gods were sourced, and digitally distorted using satellite images of their eponymous planets.

Each sculpture then represents how ideas, including how humans explain the universe, change over time.

The sculptures were first 3D-printed, evaluated, and refined, before being cast in bronze, iron, or silver, or carved in marble.

Made in collaboration between Zachary, composer Catherine Cheung and the Silk Street Sinfonia

Acrylic

2017

2.85m x 80cm x 110cm

Photography: Mark Cocksedge

Commissioned by Adobe for their Customer Experience Centre on Old Street, London. The 'Ice Nine' table is made from 80mm thick acrylic that has been CNC milled form the underside to create a faceted topographic landscape whilst leaving the top of the table flat and usable. The cutting process leaves an etched surface, where as the uncut surfaces remain clear and ploished. This creates a fascinating contrast in surfaces and textures.

Cast Ceramic & Gold Leaf
48 x 23 x 27cm
Unique

Ceramic
5 x 2.5m / 16.5 x 8.2ft
Photo: Anna Arca / Courtesy the artist & Pangolin, London

After Zachary was awarded a Jerwood Makers prize in 2015, ‘Partition’ was commissioned and exhibited in the Jerwood Space in London, before going on a four-venue tour across the UK.

Made from lengths of extruded black clay, ‘Partition’ took six months to realise.

It is comprised of sixty ceramic mesh cubes, all handmade.

The ceramic mesh cubes are designed to replicate the way software constructs three-dimensional forms.

Amassed, the structure becomes barrier-like - an imposing wall that simultaneously obstructs the space, and allows the viewer to see through it.

Digital representation is a filter through which viewing artwork is now increasingly unavoidable. ‘Partition’ explores how we can relate to digital depiction, and the interference it can cause.

2015

Cast Ceramic, Aluinium leaf & Plaster

47 x 22 x 17cm
 

2014

Created for dontdrinkthemilk#1, curated by amaCollective, Elemental Sound is a sound and visual performance produced by artist Zachary Eastwood-Bloom, in collaboration with Will Robinson, as a direct response to the performance of choral collective the REC. The event was a live translation of two classical compositions, resulting in a manifestation of sound and projection in the space.

dontdrinkthemilk#1 investigates the power of sound in the creation of physical landscapes and material configurations in the space. With the night focussed on performativity, collaboration and experimentation, this will afford greater access to the sphere of contemporary arts, in special relation to classical, choral and experimental music.

Video by Planet Caravan

2015

CNC milled Alabaster
32 x 26x 15cm
 

2014

Nylon

Dimensions Variable

In Translation #1 & #2 were created for the Hand & Machine show at Ontario Crafts Council, Toronto. The sculptures were created from 3D scans of Greek vases in the British Museum, manipulated digitally and emailed to North America where they were 3D printed without the artist seeing the finish pieces before the exhibition opened. 

2013

Ceramic (Parian) & Alpha Plaster

35 x 18 x 18cm

Private Collection

2010

Cast Jesmonite

1 x 3m

Private Collection

2015

Cast Ceramic, Copper Leaf & Plaster
42 x 18 x 20cm

In Memory of Objects

As part of Studio Manifold's show 'This is How to live' at the National Trust house, 2 Willow Road, former home of Modernist architect Ernö Goldfinger, Zachary created the work 'In Memory of Objects'. This work was twofold, initially he digitally 3D scanned a shelf of object that Ernö Goldfinger had collected and, working with computer programmer Will Robinson, created a digital sound work generated directly from the three-dimensional surface of the scan. In parallel, Zachary gave composer Catherine Cheung, a series of images of the shelf of objects and asked her to compose a short work based on what she saw in the images, which she did for string quartet. The digital work was played throughout the duration of the exhibition and the string quartet performed at a special event.

2012

Ceramic

95 x 75 x 25cm

Private Collection

2010

Bronze/Ceramic

Each unit 15 x 15cm

Private Collection

2013

Douglas Fir

Height 70cm

Originally made for the 'This is How to Live' exhibition at the National Trust property Red House in Bexley Heath, the former home of Arts and Crafts pioneer William Morris. The work was named after his famous statement  "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

2013

Borax Crystals, Nylon, Alpha Plaster

40cm x 20cm x 20cm

2010

CNC milled Beech

98 x 55 x 35 cm

2012

Mild Steel

Dimensions Variable

2012

Plywood, Laquer, Gold Leaf, Platinum Leaf

300 x 120 x 25cm each

Commissioned by Marex Spectron, London

2010

Concrete and Steel

40 x 20 x 20cm

Private Collection

For Studio Manifold's residency at the Siobhan Davies Dance Studio, in Elephant & Castle, London, Zachary worked with Film Maker Sapphire Goss and Composer Elwin Hendrijanto to explore architecture in sound. Goss and Zachary filmed the textures, surfaces and geometries of the Siobhan Davies Building, the footage was then edited by Goss in response to some of Zachary's drawings that explored the layers of the building. The film was then passed on to Hendrijanto, who created a soundtrack to accompany the imagery he was watching. The resulting film explores the layers and personality of architectural character.

2014

Douglas Fir

60cm high

2011

CNC MIlled Found Table

100 x 200 x 85cm

2010

Audio Responsive Digital Program

2010

Ceramic, Gold Leaf, Mild Steel

27 x 27 x 20cm

Ceramic, Glaze, Mild Steel

27 x 45 x 20cm

Private Collection

2011

Cast Jesmonite

115 x 230cm

2010

Laser Cut Acrylic & Light

70 x 35 x 18cm

For the ExLab project, part of the London 2012 Cultural Olympiad, Zachary was commissioned to work with digital processes and data used by geological scientists on the UNESCO World Heritage site of the Jurassic Coast on the South Coast of England. For the piece Durlston Rendered Sound Zachary used a three dimensional airborne laser scan of Durlston Country Park, located on the Eastern end of the Jurassic Coast, and converted the three dimensional digital information into sound. Whilst Zachary was attempting to convert 3D information into another mode of understanding, he was also trying to audioize millions of years of geomorphology, the notion of Deep Time and the development of the natural landscape. While working on the project Zachary became interested in different ways of understanding information from the physical, to sound, to colour and drawing and explored different ways of converting information into different sensory strata.

Prints are the musical score of Rendered Sound written by Ian Pillow.