Profile


Moving with sound as a musician, composer, painter and dancer.

Wohosheni started painting while producing her first solo album One Shard at A time in 2023. By using her music gear (used guitar strings, broken cymbal and sticks, old drum heads…), she plays her instruments to capture their vibrations through painting. Between ghostly traces and explosives percussions, her pieces catch body and emotion impulses that are born from the contact with extreme music.

Singer, musician and composer, painter and dancer, Wohosheni roots her artistic expression in the heart of music and movement.

Wohosheni is also a Gestalt-therapy practitioner, a writer and independant researcher on queer bisexuality. Her multiple practices feed her thinking around the artistic gesture.

Based in Paris, France.
                         
Email, Website

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Top picture by Justine Darmon (2023)


Exhibitions

The Silent Score
Painting exhibition with ceramist Claire Mortreux,
La Capitainerie de l’isle,
Paris 4e
2025

Data Drag, with designer and researcher John Philip Sage
‘Art + Data’ Exhibition
Mozilla Festival,
London
2018



Performances


Concert - Un serpent dans la baignoire
Le Sample,
Bagnolet
2026

Concert acoustique pour bal fusion
Loft Lechapelais,
Paris
2025

Concert  électrique
La mécanique ondulatoire,
Paris
2025

Music Recordings

Haven (cover track)
Original song by Der Weg Einer Freiheit
All instruments and singing
2024

One Shard at a Time (album)
All instruments and singing
2024

Of Hope and Rage (album)
With These ·titans·were·silent
Drummer
2023-2025

Publications

Switch : expériences de fusion bisexuelles published in Bi·es, coordonné par Camille Regache,
Éditions Points,
2026

Quelle bisexualité radicale ? Sur les traces de la bisexualité politique en France
Édition Tahin Party,
2025

Self-producing Metal Music, Women Doing It All in One-Woman Black Metal Bands
Dysphonic Press,
2023

Manifeste de la dicrétion
Dysphonic Press,
2024

La newsletter bie
En ligne
2023-current

Les femmes du bus 678 (2010): un appel à lutter contre société patriarcales
published in Féminicides, Une histoire mondiale (2022) directed by Christelle Taraud. Initially published and available on the website Le Cinéma est politique.
2022

Queering MozFest: Challenging Expectations of “Normal”,
published in How to MozFest, 10 Years of Activism, Community, and Collaboration
MozFest Book,
2019



Art Curation

Bi comme bifurquer : l’art de changer de direction
Online artist gallery
2024

Queering MozFest Experience
Mozilla Festival,
Ravensbourne University London,
London
2018



Press

Live Report @ La Mécanique Ondulatoire, Paris by Verdamnis
2025

“One Shard at a Time” album review by Metalorgie
2024

”One Shard at a Time” album review by Soil Chronicles 
2024

Wohosheni : l’artiste derrière la newsletter bie et le compte Bi comme bifurquer by Tomcat bipan
2024           

 













































Moving with sound

The Silent Score

How does one make music?

Water diffusion is like air vibration. I pick a guitar string on paper. Or two. I hit the fibers of paper: it resonates and ink spreads out.
Series

String Resonance
Cross Sticks
Ghost Notes
Shards
Single Hits






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As with music, time is of the essence. I have to work quickly before the water dries. Sometimes, it's the opposite : I have to wait a little bit until some of the ink is dried and I can apply the next notes. Silence and waiting is part of the music.

I'm searching for my sound. Experimenting. Getting familiar with techniques and finding out what I can do with this movement, that gesture. As in music, it originates in the body. I'm playing rudiments first. Singles strokes. Practising simple riffs. After that, I can move on to whole songs: vibrations, rythms, melodies all at once.

One Shard At a 
Time

Picture by Justine Darmon (2023)

Solo album released in April 2024.

Exploring themes of self-destruction, isolation, obsession and remembrance,
“One Shard at a Time” is a collection of broken pieces about grieving the past and accepting to let it go.


Listen on your music platform:

Buy CD and music
Bandcamp
Deezer
Apple Music

All instruments, vocals and lyrics by Wohosheni.

Recorded at home between March and July 2023, except drums recorded at Le Plan, Ris-Orangis in March 2023, sound engineering by Laurent Guigonnet.

Production and mixing: Wohosheni
Mastering: Mike Indovina
Design, Art and CD design: Wohosheni



 




 





Self-producing Metal Music


Self-Producing Metal Music, 
Women Doing It All in One-Woman Black Metal Bands 

Why would black metal have a special place in metal when it comes to solo female artists producing their own music?

Black metal has an unsual number of one-women black metal bands. By expliciting the conditions and positive factors empowering women to own the creative process of black metal music, my hope is to pinpoint elements that female artists could reproduce or subvert in other metal subgenres.

Content

Introduction

Part 1: Women in Metal Music Production    
    ‘Just’ the Singer?    
   The Invisible Producer


Part 2: The ‘Revolutionary Art’ Of Women Self-Producing Black Metal    
  The ‘Routes into’ Black Metal    
   Breaking Out of the Patriarchal Control           Room    
   Escaping Gender Marking?


Conclusion: Doing-It-Yourself Or ‘Doing-It-Alone’?

 
Endnotes
References

Published in 2023.

Read the book in open access: pdf.
Buy a handcrafted hardcopy.


         




38 pages
dimensions: 14.8 x 20.9 cm
weight: 82g

Printed on 90g Fabriano paper.
Original black ink linocut printed on 250g paper.
Cover with tracing paper and transparent paper.
Binded with beewaxed linen thread.
First edition and first series published in February 2023.


The Feb 2023 series was handcrafted while listening to:

Silent Whale Become A Dream - North EP
Insomnium - Heart Like a Grave
Hangman’s Chair - A Loner
Tómarúm - Ash in Realms of Stone



Data Drag

MozFest 2018, London
Art + Data exhibition



 
Datadrag is a collaborative research-based critical thinking project developed by Stéphanie Ouillon (Wohosheni) and John Philip Sage.

Its aim is to explore the intersection between Data, Counter Culture, Queer Theory and Spirituality. 
The theory of the Quantified Self is explored through a queer lens where data collection is considered as drag, that’s to say, the computational production of fictions of the self.

The research is presented as fragments which are referenced in an “academic referencing style” bibliography.

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