His concert debut came on 27 August 1994 with the premiere performance of his compositions "Carne Bianca" and "Lingo Babel", written for violin, piano, bass clarinet and saxophone.
[3] The following year on 29 October 1995 Australian ensemble Synergy Percussion performed his compositions "Whyitiso", "Lingo Babel", "Congo" and "Zimbabwe" at the Enmore Theatre in Sydney, Australia.
Another Danish group called Ensemble Nordlys, performed the world premiere of Iolini's composition for violin and piano entitled "Anyong Arrirang" at Toldkammere in Elsinore, Denmark on 19 May 1999.
Characteristic features of his electro-acoustic compositions are spoken and sung vocals and themes that explore social justice and contemporary culture.
[10] Hong Kong: City in Between was a prize-winner in the Soundscapes (be)for(e) 2000 festival in Amsterdam[11] and Marking Time was nominated for the Karl Sczuka Prize[12] (2000).
In this work, Iolini crafts "lost sounds from Sydney's past, media archives and scripted dialogues"[16] into a sonic essay on the loss of identity as a result of disappearing buildings and architecture.
He would go on to organise these disparate sonic materials into musical works that would be incorporated into multimedia theatrical performances under to overall direction of Scott Rankin.
During his years with Big hArt, Iolini would work closely with artistic director Rankin on projects which covered a wide range of locations and social issues – from juvenile justice in Australia's Northern Territory to the plight of shack dwellers in the remote North West of Tasmania.
One technique he uses, is to edit footage to an existing musical composition, as in his short existential drama film, The Holographic Ear (2006), and his humorous take on humanoid robots, Geminoid Tear (2010).
Another technique he uses in many of his films is to work directly and simultaneously with sound, text and image sources without reliance on a script, treating the editing process as a musical composition.
[29] In this iteration, the project was exhibited as a multi-art form installation which included a three channel video and a locative media component using mobile phones and bluetooth technology.