This page provides an overview of my work and projects. To see a recap of 2024, read the zine.
MEDIA COVERAGE (ecoPULSE.art)
PUBLISHED WORDS + PODCASTS
Kim takes your ears places where your head won’t fit! – Jason Richardson, ABC Radio interview, 2023
I was first drawn to Kim V. Goldsmith’s work because of its pluralism. But it is also centered around matters of uttermost importance to me: that the questions needed to find the best solutions for the climate emergency don’t separate us from ‘nature’, and that we acknowledge the colonialism and imperialism present in the environmental scene. And, of course, all of this is paired with wonderful, meticulous soundscapes and composition works. – Melissa Pons, field recordist and sound designer, Portugal, earth.fm, 2022
2025-: 5 minutes of silence, performative listening event, various locations, ongoing and evolving
5 minutes of silence is a guided act of intention, introspection, and interruption of time, gestures, our bodies, speech, and thoughts, in memory of what more-than-humans worlds have been lost and what we’re losing. Conscious acts of silence offer space for reflection, connection and care—for us and the more-than-human world we share the world with. Leaning into the silence, we have an opportunity to take a collective vow to respect, restore and regenerate our the environments that sustain us. Performed in 2025 in the Beni Nature Conservation Area near Dubbo NSW for Artists in Nature International Network’s (AiNIN) Forests’ Dreams event in June 2025, and at Greenfields Gallery and Sculpture Park for AiNIN’s COMING TOGETHER: Right Here Right Now on 5 July 2025, a satellite event of the Floating Land festival in Noosa Shire, Queensland. MORE
…very earthing. – NSW participant
Regretful time was up. – NSW participant
I loved how you described the texture of sounds changing over the 5 minutes. – Queensland participant
Did you notice that the cows stopped too, and watched us. And when we started talking and moving again, so did they! – Queensland participant
2024-: SOIL+AiR creative future landscapes, self-directed rural research residency project, NSW
Rural and regional Australia is on the frontline of change. By digging into the nuanced and complex issues impacting our collective future, gently reconsidering the way we think, feel and act within the world we inhabit, we can establish better connections within our communities, between consumers and farmers, and the natural world to create the type of place where we all thrive.
SOIL+AiR is a creative rural research residency based on a farm in the Narromine Shire of Central West NSW. The project is bringing together creatives, farmers, land stewards, other knowledge holders, and community changemakers to gently reconsider the world we inhabit through connection, enquiry, sharing, kindness, storytelling, and creativity-led action. This residency has been self-funded.
It’s always a good time to listen! A whole new field of discovery by listening to the soil! Kim is one of the amazing leaders of this new branch of biological monitoring and she is expanding on that by making creative and compelling art out of it all. Creativity to the max! – Bruce Maynard, farmer, July 2024
A series of events and creative works will evolve as the project progresses over the year of the residency. The first of these has been the Stories of Place, Community and Environment (SPACE) Walk, held on farm on 21 September. Country Arts Support Program (CASP) was received to run this event. It has been shortlisted for an international 2024 Marŝarto Award through walk · listen · create. WATCH
READ BLOG POST (published by walk · listen · create, 14 December 2024)
What did you enjoy most about the SPACE Walk?
Sitting with people who care, on Country. – Kate Mildner, Warren (walk participant)
We talk about listening to Country, you quite literally do that. – Uncle Tony Lees, Trangie (walk participant)
You do such good work in the world!!! Thank you. – Carol Birrell, Instagram (responding to a post about the walk)
November 2024: Yarngun, soundscape composition and handturned timber capsule, duration 6 minutes
When they came to Australia, my convict and settler ancestors relied on the natural environment of their new country to survive, but they found the landscape, its trees and soils unfamiliar and hostile. There are trees alive today in Wellington that bore witness to the injustices of colonisation and settlement, who survived to mark the generations who followed.
Yarngun explores this history in a multi-track soundscape composition of field recordings from the junction of the Wambuul and Bell Rivers—a site of cultural and historical significance to the traditional owners of the land, and to those who later lay claim. The story is told through the crackling, rumbles and creaks deep inside a Montefiores River Red Gum that has stood over the river junction for at least 200 years; the voice of water, wind, birds, frogs and insects that give this place its sonic identity; and the recorded words of a descendent of one of Wellington’s first families. Yarngun is a Wiradjuri word meaning the roots of a tree—the foundations of living beings that grow, branch, flower and seed new generations.My deepest gratitude to proud Wiradjuri woman, Kerryann Stanley for sharing her family history journey with me in the creation of this work and giving voice to the importance of knowing your roots to a deep sense of identity and belonging.
Presented as a commisioned work for the First Families project exhibition at the Maliyan Cultural Centre, Wellington NSW, 2 November – 13 December 2024.
Wow, wow, wow! – Susan, First Families opening, 2 November 2024
As ever loved your sound exploration of our environment. – Murray Wood, CEO, Dubbo Regional Council, LinkedIn, 2 November 2024
June 2024: Sumbios (living together), digital soundscape album, online
Sumbios (living together) is a collection of 6 soundscape compositions created between 2021 and 2024. Despite being from different projects, there’s a common objective of giving voice to the voiceless. They’re stories of entangled existence, revealed by exploring layers of nuance and complexity within the rural and regional territories in which they were recorded. Each composition is built on hidden and acousmatic sounds that make these places vibrate. Duration: 54.5 minutes.
Brilliant, meditative soundtrack…I like the gentle instrumental along with the sounds of the environment. I listened in the dark. It was perfect. Thank you! – Jennifer C. (Australia), June 2024
It’s great! A really beautiful collection and goes a lot of places. – Andrew W. (USA), July 2024
…it feels as if Goldsmiths’ Sumbios (living together) [what a great title] were coming out of the fibers I am weaving. – Irene P. (Spain), August 2024 (Instagram)
2024: Permissive path, self-published walking inspired writings, NSW
A chapbook of walking-inspired writings, photographs and soundscapes was compiled into an anthology titled Permissive path. This was shown and made available for sale at the first survey exhibition of walking art to be staged by the national Australian Walking Artists network at Articulate project space, 10 February – 3 March 2024, and at Wayout Artspace, Kandos NSW in 2025 (postponed due to work on the building).
20pp, A5 portrait, black and white chapbook, 130gsm
Loved it Kim, especially the sound link to Callitris Glaucophylla, I felt transported. The sound of you and Andrew walking is fascinating. Many thanks! – Sue Challis, UK, 2024
Finally had a moment to sit quietly and read and listen to this work.. so beautiful!! I love the soundscape poem I am Walking. – Isabelle Devos, NSW, 2024
2023-24: #SoundOfSoils project, soil listening research and creative development for the international presentation, Italy
The #SoundOfSoils project puts an ear on the unremarkable tenuous or rudimentary soils of Central West New South Wales, Australia, capturing an intimate, reciprocal conversation between the artist and these ‘good-for-nothing’ soils. Along with the presentation of a co-authored abstract with US artist/academic, Anne Yoncha, titled Sound of Soils: Two approaches to a multisensory understanding of soil, at the Centennial Celebration and Congress of the International Union of Soil Sciences (IUSS), 19-21 May 2024, Florence, Italy, an 8-minute soundscape composition, 650-word poetic prose and 4-minute animated video were presented in an exhibition at Installation images from the Dialoghi del Suolo pop-up exhibition at Il Conventino fuori le Mura following the congress. This project was initiated by the ecoartspace Soil Dialogues.
It was fun to talk about our work there, really good enthusiastic audience! – Anne Yoncha (USA), co-author of IUSS presentation abstract, May 2024
Your work looks fantastic! – Andrea Bersaglieri (USA), ecoartspace artist in Florence, Italy, May 2024
Your film looks great. – Jo Pearl (UK), ecoartspace artist in Florence, Italy, May 2024
2023 – : The Sonic Language of (Lost) Landscapes, self-directed writing residency, Scotland
Started in August 2023 during a month-long residency on the Isle of Skye, this project is an extension of my field-recording sound art practice, with the aim of making sonic worlds more accessible through immersive, experiential written language. These writings sit alongside the recordings, compositions, videos and haptic pieces I’m already working with. Centred on periods of attentive listening in the environment, close observation of my response to that environment, as well as what’s happening around me, and reading the work of others in the environment/nature writing genre inform the texts. I expect this project to evolve over time to include other activities that align with my practice. No funding has been sought for this project.
I *almost* felt like I was there while reading your blog post. Loved your immersive descriptions and the audio snippets. – Rebecca Campbell, author, Instagram, 2023
A great read. Thank you. The term “More-than-human” feels like it carries greater worth than the term “non-human”, which I’ve been using. – Ro Burns, Instagram, 2023
2022 – 2024 : Regional Futures: Vaticinor, commissioned soundscape composition, haptic sound sculpture, audio stories (with transcriptions), and a free verse poem, NSW
Vaticinor is the project I developed for the Statewide (NSW) Regional Futures project exploring the future of the regions. I was commissioned by Dubbo Regional Council, who were a partner in Regional Future through Orana Arts. A cross-region creative conversation was facilitated between the Central West and Mid North Coast, specifically looking at these regions in a post-carbon world. In Stage 1, I undertook self-directed residencies at Wellington Caves (10 days), the Mid North Coast (4 days) as well as attending the National Renewables in Agriculture Conference in Albury (18 August). I returned to the Mid North Coast and Manning Valley in October for 4 more days of story and sound gathering. A small group exhibition was held at Manning Regional Art Gallery, 23 March – 13 May 2023. I led a soundwalk of Wingham Brush Nature Reserve the evening before the exhibition opening. The work was shown at Casula Powerhouse Arts Centre in Western Sydney, 24 June – 24 September 2023. The project was funded by the Regional Arts Network through Create NSW, Orana Arts, and Dubbo Regional Council.
In 2024, the work was part of a 7-woman show at the Basil Sellers Exhibition Centre, Moruya, 26 October – 23 November 2024. All the artists were Regional Futures artists. Two panel discussions (in-gallery and online) and a cultural walk with Yuin Elder, Aunty Trisha Ellis, were organised by me as part of the exhibitIon’s public program. MORE
This will be a stunning exhibition! Congratulations All. – Regional Futures project team, 2023 (following the 2024 exhibition announcement)
I just listened to Humi — amazing, exquisite, poetic. Thank you. – Molly Wagner, 3 November 2024
Brilliant exhibition. – Alex Thorby, Instagram, 2023 (Manning Regional Art Gallery)
It was a fantastic experience Kim. Not just seeing the flying foxes heading off but also learning about the multiple layers of sound around us, even in trees and underground. Fascinating. I’m so glad I had the opportunity to attend. Thank you! – Jennifer Catt, 2023 (Wingham soundwalk participant)
Your work was great! Well done 🙂 – June Holland, Instagram, 2023 (after Casula Powerhouse Arts Centre exhibition)
MORE PROJECT INFORMATION
SOUNDCLOUD PLAYLIST
BLOG POST: IS THIS ART?
CLIMATECULTURES BLOG POST
2ND CLIMATECULTURES BLOG POST
2022 – : Sonic Territories: Wambuul, soundscape composition, audio waveform video, shared online stories, and a soundwalk, NSW
Sonic Territories: Wambuul, is a collaborative, multi-staged river stories project celebrating the Wambuul Macquarie River of Central West NSW through sound, stories, soundwalks and other creative forms (a waveform video was created for accessibility purposes). Stage 1 works (2022) were released on World Rivers Day, 25 September 2022—a series of short texts and soundscapes developed by the collaborating artists. A live performance of the work, Wambuul bila was performed at an Originals Only Afternoon hosted by the Outback Writers’ Centre at the Western Plains Cultural Centre (Dubbo), on 23 October 2022. A guided soundwalk of the Wambuul Macquarie was held on 28 August 2022, documented by videographer, Milena Sallustio. WATCH
Funded by the Country Arts Support Program through Orana Arts and additional funding through fundraising with the Australian Cultural Fund.
The soundscape component (without the spoken word element) of the Wambuul bila soundtrack was submitted and selected by a juror for the international ecoartspace publication, The New Geologic Epoch, published online in December 2023 and now available in hard copy.
A second stage of stories is planned for this project in future.
WAMBUUL BILA SOUNDTRACK
WAMBUUL STORIES
WAMBUUL SOUNDWALK
2021-2022 : Inhalare/ breathe upon, soundscapes, 150-word text and visual artworks in an exhibition with accessibility features including Audio Descriptions, audio recordings of text works and tactile elements, NSW
Inhalare/ breathe upon was a multi-stage project that aims to transform familiar landscapes into unfamiliar territories through sound, 150-word texts, and visual responses to the soundscapes and writings, along with a range of accessibility elements providing broader access to the work in the exhibition space. As project initiator, lead artist and project admin, I worked with 11 other artists from across Regional NSW. Stage 1 works consisted of creating soundscapes and 150-word texts (edited by Dr Liz Charpleix), Stage 2 saw visual artists are create visual responses to the soundscapes and texts, and Stage 3 was the design and implementation of accessibility elements for the exhibition including Audio Descriptions of the visual artworks by the visual artists, recordings of the text works by the writers, and in some cases, the production tactile elements. Stage 3 was undertaken in consultation with disability consultant and gallery director, Allison Reynolds, with an exhibition held at social enterprise gallery, SPACE in Coonabarabran, 15 May – 16 June 2022. My contributions to the group exhibition can be heard and read below. The project received funding from Create NSW (COVID Development Grants), fundraising through the Australian Cultural Fund and Regional Arts Fund Cultural Tourism Accelerator (Experience Initiative).
2019 – 2022: Pulse of the Wetland/ Mosses and Marshes, sound/video installations, writings, audio stories, public programs, project publication, and exhibition works with Andrew Howe (UK), NSW and England
Pulse of the Wetland is my contribution to the international Mosses and Marshes project, investigating the dynamic ecological rhythms of the Macquarie Marshes as they recover from prolonged drought and fire. Using historical and academic research, on-site documentation using sound and video, and community stories, the artworks developed from the project weave community stories into a body of digital works – video and soundscapes. Mosses and Marshes was initiated as a collaboration in partnership with UK-based artist, Andrew Howe. The Mosses and Marshes works were shown in six exhibitions—three in the UK and three in Australia, consisting of a mix of 2D and sculptural works by Howe and audio-visual works, including collaborative video and sound works, by me. A book about the project was published by the artists in late 2021. There has been an extensive public program designed around the exhibitions, including sound walks, an international panel event in partnership with Dubbo Regional Council, artist talks and workshops. The project received funding from Regional Arts Fund (Quicks), Create NSW, Australian Cultural Fund fundraising, and Arts Council England.
MORE INFORMATION
SOUNDCLOUD PLAYLIST
MORE SOUND AND VIDEOS
UN-BOXING: INTERNATIONAL TOURING EXHIBITION – (Arts) Territory Exchange works including a set of Mosses and Marshes postcards by Goldsmith and Howe
2019-2021: Eye of the Corvus, video, sound & VR installation, Western Plains Cultural Centre, Dubbo NSW + Outback Arts Creative Centre, Coonamble NSW
Eye of the Corvus: Messenger of Truth consists of room-sized landscape montages from Australia and Iceland, and intimate video projections of an Australian dust storm and Icelandic snowstorm, with accompanying multi-track soundscapes and narratives, as well as an immersive VR video of the landscapes of rural and remote NSW and northern Iceland. The exhibition was the result of a two-year research and production project extensively documented over this time on a dedicated website. This was a Western Plains Cultural Centre commissioned exhibition, curated by Kent Buchanan, Dubbo Regional Council. The 2-month residency at Nes Artist Residency, Iceland was self-funded. The video, Dust Storm of the Waagan (narrated by Auntie Di McNaboe) won the Fishers Ghost Contemporary Arts Award in 2020.
2019: Sonic Territories: Kandos, sound walk, Cementa 2019, NSW
Five 2-3 minute fictional sonic narratives, inspired by historical and contemporary events in and around spaces and places in Kandos NSW that have undergone much change over the past 100 years. The mult-track mixes were created using field recordings from each site with found and manipulated sounds, including loops and archival material. For Cementa 19, the work was hosted on the international cultural audio tour app, izi.TRAVEL. Full details are on the project page. This work was part of the Andrew Frost curated show, Here and Not Here. Also available for listening as one track on Soundcloud.
2019: Within walking distance (collaborative work with Andrew Howe, UK), digital prints, part of the Arts Territory Exchange group exhibition, “Put this in your window and think of me”, Cambridge UK
Series of digital photographs presented as A2 sized giclée prints created from exchanged photos from walking routes close to home, with identified palette differences through pixelation, determined by light, season and climatic conditions, named with references to “Werner’s Nomenclature of Colours”. Curated for the Arts Territory Exchange by Art Language Location around the themes of land, ownership, property, common land and rural-urban tensions.
2017/2018: Fictional Territories #01, collaborative soundscape, 12’00 loop, Arts Territory Exchange, NSW, Germany and UK
Through the recording and exchange of sound sketches in Australia and Germany, a meditative soundscape was developed via distance-collaboration with Didi Hock (Germany), to produce a layered piece of sonic fiction that creates a new space to explore with the imagination. Designed to be simply installed with headphones and a simple ‘user manual’ suggesting how to prepare to listen to the work, Fictional Territories #01, is the first of what the artists imagine to be a series of fictional soundscapes. The work was installed at Charles Sturt University Dubbo campus in February 2018 and Westminster Reference Library, London in late 2018 in an (Arts) Territory Exchange curated exhibition.
2016: Volucres, soundscape and 3-channel video projection, 5’20 on loop, 2016 Artlands National Regional Arts Festival, NSW
Installed at Artlands 2016 in a church hall, Volucres is an immersive work. A looped soundtrack of piano chords and hard-edged synth is layered with Australian native birdsong recordings and sound effects (rain and thunder), accompanied by large-scale abstracted, monochromatic, avian-inspired movements of murmurations, unfolding wingspans, animated birds and falling feathers. The work was developed over six months in collaboration with sound engineer, Wez Thompson, and video producer, Peter Aland. This work was funded by Regional Arts NSW.
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