I am an artist, designer and researcher who makes live interactive experiences. Much of my practice explores data-augmented human-human interaction and responsive storytelling, with the aim to enhance audience transport into immersive storyworlds. I am currently consolidating that work through a practice PhD in Personalised Performance with Storyfutures at RHUL.
I have worked for over twenty years across creative, design and production roles, delivering tech-enabled staging, interaction and storytelling, within my own artistic projects, and for clients and partners across independent festivals, theatre and tech-art installations, – as well as immersive events for super-rich private individuals, and international media and fashion brands.
Projects:
Computer Aided Theatre, where we make narrative and interaction tools for live performance; a season of tech-art, games and maker-culture onboard art-ship MS Stubnitz at Canary Wharf; interactive black-comedy The Apocalypse Gameshow; wearable-tech performance project Sonic Sideshow; and pioneering immersive festival-venue the Underground Piano Bar, at Glastonbury.
I am a resident artist at the Pervasive Media Studio.
I have been a Fellow of Immersion with SWCTN, Associate Lecturer at Central Saint Martins and a recipient of the Norwegian Arts Council’s Artists Salary.
Past clients and collaborators:
Tate Modern, Barbican, V&A, Royal Opera House, Science Museum, Glastonbury Festival, Boomtown Festival, Trash City, Carnyville, MuTate Britain, MS Stubnitz, British Vogue, LVMH, Bloomberg, Immersive Cult, Secret Cinema, Another Magazine, Love Magazine, Miu Miu, Marc Jacobs and CNN
Recently I have been thinking about:
Human-Human vs Human-AI interaction characteristics; hybrid AI-human interaction-systems; monetisation of bonding in AI-companions vs dating apps; reality construction during radical discontinuity; speculative futures simulations; VR embodiment distortions and Homuncular Flexibility.
I have also been pondering what an immersive ‘poor theatre’ might look like.