Duncan Whitley studied BA Hons Fine Art at Kingston University from 1996 to 1999, where he worked almost exclusively with sound installation. In the years following graduation his work continued with a focus on site-specific interventions, producing work in both sanctioned art art spaces and ‘non-art spaces' (from domestic environments, to derelict flats, to Church of England churches). He found a particular affinity with the arts organisation Measure, with whom he has produced a number of site-responsive works in London's undiscovered buildings and hidden spaces.

From 2004 his practice shifted towards stereo and multichannel ‘field recording', developing a significant archive of project-specific phonographic studies. Both within and outside of his collaboration with James Wyness, his sound recording work documents the ritual of social events: the highly formalised Semana Santa processions in Seville; football spectatorship across different tiers of the British football league; the training sessions of an amateur football club in the small Portuguese town of Parada. Working with themes of acoustic communication, Duncan's field recording projects highlight the role of sound in the facilitation of social relations within the context of these events. These projects subtly unveil the potential of the acoustic in the fabrication, consolidation and subversion of power relations.

Whilst displaying a critical interest in sound and audio work, and particularly in the presentation of sound in the visual arts, Duncan remains committed to producing intuitive, accessible work for broad audiences.