Local artist profile: Aimee Chapman

THIS week we chat with prolific local music producer, sound artist and vocalist Aimee Chapman, who says one of many career highlights was collaborating with Paul Dempsey (Something for Kate) in a remote ghost town in WA!

What motivated you to take up your music production/sound artist practice?

I’ve always been drawn to sound as a way to tell stories beyond words.

There’s something deeply powerful about using sound to evoke emotion and transport people to places they’ve never been, or to illuminate people and histories that might otherwise remain invisible.

Early on, I was fascinated by how electronic production could manipulate/reshape sound into something entirely new, which led me down the path of exploring how sound and storytelling intersect.

How would you describe your style?

It’s always evolving, but at its core, my work blends electronic textures with organic elements – voice, acoustic instruments (and) field recordings.

My style developed from a mix of electronic production, jazz, and pop songwriting, but it’s been shaped just as much by the environments I work in.

Which other artists inspire you?

I’m constantly inspired by artists who blur the lines between disciplines.

Megan Champion and the Women of Gold project, for example, celebrate regional women’s voices and histories through art.

David Gagliardi is another incredible local artist – his ability to craft deeply emotive, multiplatform work is something I really admire.

Beyond that, I find inspiration in producers who push sonic boundaries, artists who use sound to transform public spaces, and musicians who approach storytelling in unexpected ways.

What are some highlights you have from your career so far?

A standout was working on the Vast Project, where I collaborated with Paul Dempsey in a remote ghost town in Western Australia.

We co-wrote a track that was released by littlebigman/EMI, followed by a live concert and documentary.

Another highlight has been curating and producing Sonic Bloom, where we transformed public gardens into immersive soundscapes.

And of course, getting to work on touring by musical heavyweights like Bob Dylan and Leanoard Cohen has been an unforgettable privilege.

How can people check out your work online?

You can find my music on streaming platforms, and there’s plenty of my sound and installation work online at aimeechapman.net.

For updates on what’s next, Instagram is usually the best place to find me!

Do you have any exhibitions coming up?

Huge announcement this week – the project Caleb Maxwell (Hebron Films) and I have been developing for the Bendigo Military Museum has been funded!

Recently, I collaborated with Troy Firebrace on an installation at OK Motels Festival in Charlton, and I created a sound work for sculptor Ben Wrigley’s exhibition The Wands.

A lot of my work is about uncovering voices and stories that might otherwise go unheard – whether that’s through music, sound design, or large-scale installations.

Right now, I’m also collaborating heavily with a number of local creatives, so stay tuned!

What would you say to young regional aspiring artists who are thinking of making a go of the creative life?

Don’t buy into the idea that you need a ‘backup plan’ – art is a real career, and if you commit to it, opportunities will come.

Say yes to collaborations, keep learning, and create the kind of work you’d love to experience yourself.

Being in a regional area doesn’t mean you’re at a disadvantage – it means you have a unique perspective and a strong community around you.

The industry is shifting, and now more than ever, creativity isn’t tied to location.