Paul Elliman

His work combines an interest in typography and the human voice, often referring to forms of audio signage that mediate a relationship between them.

[citation needed] Elliman's work has addressed the instrumentalisation of the human voice as a kind of typography, engaging the voice in many of its social and technological guises, as well as imitating other languages and random sounds of the city including the non-verbal messages of emergency vehicle sirens, radio transmissions and the muted acoustics of architectural spaces.

[citation needed] He has exhibited in the Institute of Contemporary Arts and Tate Modern[1] in London, the New Museum and Moma (Ecstatic Alphabets, 2012) in New York,[2] APAP in Anyang, South Korea,[3] and Kunsthalle Basel.

In 2010 he contributed a series of whistled versions of bird song transcriptions by Olivier Messiaen for the show We Were Exuberant and Still Had Hope, at Marres Centre for Contemporary Art, Maastricht.

[5] Elliman is visiting critic at Yale School of Art,[6] New Haven, and a thesis supervisor at the Werkplaats Typografie in Arnhem, Netherlands.