Enigmatica is a work in progress exploring new concepts in combining light, sound and space to create multi-dimensional synesthetic environments. The work experiments with spatial segmentation, illusory oddities and aural expression, freely shifting from order to disconnection and sweeping through the spectrum of colours from softly subtle to psychedelic. By constantly reforming the dynamics within the space, the installation demonstrates the potential for creating new forms of digital sculpture.

Shape tweens in this work are evenly and geometrically placed. The multiplication of these movements creates a kaleidoscope. When presented with a rhythmic sound, a slightly entrancing out-of-phase yet simultaneously synced effect is created. The work starts of with a semi-tribal element to encourage the notion of having a connection with an earthly mysterious force.

Audio reactive visual system (side stage screens) developed for the 2009 Stereosonic music festival. Created in collaboration with Abraham Manzanares. Video courtesy of the public.

In the name of developing a work that also makes use of auto-rendered visual sequences, Life on Mars is based around the strange and corrupted ‘ shape tweens’ that can be created when drawing two instances in a timeline and commanding the computer to morph between them.

The building is ‘pre-mapped’. This template is then used to define the tween points of reference. Simple? yes! But hopefully maximizes its potential by presenting the viewer with a mysteriously cryptic outcome that cannot be defined (unless you are familiar with this odd system of vector shape redistribution).

This temporary work existed over MARS Gallery in Port Melbourne.

Scribbuluminous is presented as an exploration into using the gallery space as its own canvas. However by juxtaposing the structural forms with an overlay of improvised free-form light it aims to represent the crude beginnings of a hybridised ‘digital yet physical’, ’static yet dynamic’ multi-dimensional environment.

Further developments will venture much deeper within this conceptual paradox, raising questions of the theoretical and known positions of virtual and physical mass and the dynamic of interdimentional interplay. With the addition of an observer into this multi-dimensional interplay this could even extend to the consciousness, altering our understanding of the breadth of virtual, physical and mental hybridization.

Scribbluminous allowed me the experience of producing a work that was largely based around free improvisation. I wanted to create something that mixed computer programming methods with spontaneous instinctivity in order to present these two opposing elements simultaneously. Combining creative and stastistical elements creates a balance within this work, just as it theroetically could create balance within the left and right hemispheres of the mind. It is this ying and yang that is pulled together, representing the ever growing fusion of digital and physical worlds.

Because I continued to develop the work within the space as it was open to visitors, I was witness to the reactions of people when the walked into the space and saw the work, and their reactions to me as I was in my two modes of thinking (logical and sequential when I was programming and random and intuitive when I was scribbling). The entrance to the installation is covered with a black sheet. One visitor actually peeked inside and saw me when I was programming and did not enter. I also heard another visitor outside the door say to her friend that she was too scared to enter even though they had not looked inside yet, however her more daring friend urged her to continue by sarcastically stating that they would not enter, they eventually did. Another visitor that came into the gallery had an in-depth conversation with me about her perspective of the work, what it represents to her and what imagery it conjures up whilst another visitor stood still in a confused state for a long period of time whilst darting their head back and forth to follow the scribbles throughout the room. This visitor stated that they are confused as to how ‘this’ is happening.

All of these people were witness to me within the room and my state of mind when working on the two elements that make up this installation. These are the software programs that drive the hardware and the improvisation of the scribbles. These separate times presented me as either irritated and confronting or relaxed and engaging.

The direction of the scribbles are based on the layout of the room. It is these spatial parameters that transform the scribbles into a textural component of the room.

Light over the Builders Arms Hotel in Gertrude Street, Melbourne for the annual Gertrude Projection Festival.

DATAFLUX investigates the possibilities of using live software codes to render synesthetic audio and visual experiences. The installation uses a software counting mechanism to step between scenes and sequences. Projections are beamed onto a motorised mirror allowing for wider displacement which is also triggered via the same system. Size and locations for the reshaping white squares are changed on every beat, allowing for the movement streams that you can see, this relocation creates an internal message that allows the software to fluidly render these changes. It is this concept of a self automated system that I aim to represent with this work. I also wanted to visually represent the mechanics of the software program.

As of yet this installation will last one minute twenty before the viewer will be presented with a loop point, however with further development there are perpetual transformations that could be possible. The sound is made up of four pre-rendered two channel linear streams that are re-triggered every 30 seconds, developed in a way to seem to be a more complex live point to point triggering system. Heavy bass information was present and a strobe effect is also triggered once every 60 seconds. I wanted to include these elements to heighten the sensory effects the work has on the participant. This installation aims to represent the notion of pushing capacities in order to assist us in envisaging further developments. The layout of the cubes is based on the existence of a large pillar located in the centre of the room.

I am planning for Engimatica in February to more dynamically represent a digitally choreographed environment. To my indiscretion and perhaps paradoxically, Enigmatica will be made up of a completely pre-rendered looping linear stream or ‘film’, there will be no live software elements.