William John Brooks (b.1998) is a British-Welsh artist whose practice investigates the material and somatic residue of electromagnetic transmission. Working across installation, intaglio printmaking, and haptic sound, Brooks converts the infrastructure of wireless communication into geological record — treating signal not as immaterial phenomenon but as a physical force that inscribes itself upon the world.

Central to his work is the Radio Frequency Landscape: a conceptual framework describing the invisible terrain produced by the propagation of electromagnetic signals. This space is neither neutral nor benign. It carries lullabies and missile telemetry in the same spectrum; it transmits cultural intimacy and military infrastructure through the same medium. Brooks's practice makes this proximity legible through material encounter. Zinc plates etched by received transmissions, sandstone boulders resonating with the frequencies of urban expansion: each work proposes the electromagnetic spectrum as a contested commons, one whose political geography is rendered visible only when fixed into matter.

Against the transience of signal, Brooks consistently positions the endurance of geological time. The anthropogenic activity recorded in his work — the construction of cities, the propagation of war, the restless rewriting of the airwaves — is measured against substrates that predate it by millions of years. This collision of timescales is the structural logic of the work: fleeting human transmission held inside enduring geological matter, asking what traces we leave.