The focus of Amber Priestley’s practice is derived from the meeting points found in the act of collaboration. As both composer and sound designer, a particular interest of Priestly is musicians who perform both music and theatre, often using open-form scores, in order to provide situations where time is not fixed. Some recent performances include For Jocelyn Bell Burnell (BBC SSO/Tectonics Festival); And Yet Something Shines, Something Sings in that Silence (Bozzini Quartet, hcmf//); There, I’ve said it, I’ve put my cards on the table. (London Sinfonietta commission); Floors are Flowers, Take a Few (EXAUDI, Tectonics Festival); and Ev’ry evening, ev’ry day (LCO Soloists with Mira Benjamin, nu:nord commission). Amber Priestley has been called a score-maker, because the physical process of making scores by hand is central to her artistic practice, as is the visual aspect of the completed score, especially the play between notational markings and the simple but elegant staves in conjunction with the materiality of paper.