Esther Kehinde Ajayi is a sound designer and artist working under the name EKAS in her performance practice. A recent graduate from BA (Hons) Sound Arts*, she specialises in sound for theatre, film, interactive technology, and community projects and currently runs her own sound house, E.K.A. Sounds.
Tell us a little bit about yourself. What are you working at the moment?
I currently facilitate the sonic visions of directors, researchers, and theatre companies through my sound house, E.K.A. Sounds. Alongside this, I am developing new work as part of my audio sculptural practice and furthering my research into the psycho cultural potential of sound when considered beyond the context of music.
Why did you choose to study BA (Hons) Sound Arts at LCC?
I initially pursued music production at another institution when I was 18, but it didn't work out. After leaving that school, I began working as a sound designer for amateur theatre for about a year. Following this, I moved to Germany, where I worked in hospitality and created an audio comic book, which opened several doors for me to work as an audio producer for various audio-based tech start-ups. Afterwards, I returned to London and began working as a professional theatre sound designer.
Working at a professionally elevated level, I found myself designing sound systems to enhance the articulation of my designs, which led me to think about sound, sculpture, and space. Additionally, I felt a strong need to develop a deeper intellectual confidence in my sound practice, which led me to study sound arts. The course gave me the space and privacy to explore my ideas and reflect on my thinking, approaches, and the history of my practice.
It has deepened my understanding of why I approach my practice the way I do, making me much more effective in creating sound in service of my clients' visions as well as my own.
How did you start your collaboration with a BA (Hons) Photojournalism student and what was this experience like for you?
The Behind The Fantasy video collaboration with Harry began when he reached out to me, expressing that he resonated with what he had learned about my practice and wanted to feature me as a subject in his documentary. It was a wonderful experience, and it became evident to me that he is an artist in his own right. This collaboration felt like an enjoyable partnership between two artists, where we genuinely helped each other and fostered a sense of community during the process of our creative collaboration.
What was the highlight of studying at LCC?
The highlight of studying at LCC was the ability to utilise various resources. I could take the information and ideas that arose in response to different modules, whether it was sound art for a gallery context or a more philosophical consideration of sound for the research modules and immediately begin enquiring, building and creating my ideas. Having immediate access to the 3D workshop or the Creative Tech Suite was a huge benefit. It's one thing to spend all your time conceptualising and thinking deeply about sound and art, but it's another to have the freedom and full access to put your ideas and visions into action right away.
What top tips would you give to prospective students applying to undergraduate courses at LCC?
Keep in mind that the primary goal is not solely to achieve the highest grades, although that can be a bonus. Instead, focus on developing your genuine artistic practice and perspective. Use your time, environment, tutors, and available resources to explore and enhance your work. This will help you discover your unique artistic voice, which is crucial in the creative industry. People will be attracted to you specifically for your distinctive approach and viewpoint.
*The course now has two pathways, BA (Hons) Sound Arts: Design and BA (Hons) Sound Arts: Experimental Music.
Visit the BA (Hons) Sound Arts course page