Lisa Lerkenfeldt is an Australian artist and musician. Her imaginative process is poetic and precise; distilling new registers in the field of consciousness through electroacoustic composition, like a torchlight in the dark. Alongside classical instrumentation, she augments abandoned technologies into new hybrid forms through handcraft, digitisation and experimental digital processing. Flickering piano, tape systems, and their spatialised distortions unfold in repetitive motifs. Multilayered acoustic refractions invite perceptual shifts over durational encounters. Drawing from lineages of musique concrète and 20th century piano composition, she seeks out altered tonalities with contemporary resonance and the beauty of restraint. Her trance-like attention to detail and explorations in resonance, timbre and improvisation inform a diary-like intimacy. Gently balancing feedback, modern classical instrumentation and multi-player arrangement, she has performed her works with ensembles, software designers, and in collaboration with visual artists and filmmakers. Concerned with disruptions in form, her work presents as music, object, installation, audio visual performance, and electroacoustic atmospheres. Her debut LP Collagen was released on Shelter Press in 2020. In 2021 her EP A Liquor Of Daisies premiered at Melbourne Music Week, alongside its reissue. With Water Up To Her Knees—a new electroacoustic work and film—premiered at The Substation in 2022. Following national tours of Australia and Japan, in 2024 she was a guest resident at INA-GRM Paris studios. The Sky Was Like Cellophane premiered at Le Centquatre, Paris, touring then to Art Gallery of New South Wales and the National Gallery of Victoria in 2025.