Really good UV sheet:
Really good UV sheet:
In The Lamentation, the Greek chorus is re-imagined as an endless array of targeted twitter scrapers given form and voice through 3d modeling and text-to-speech. Each head has a different voice and a different tag which shapes the tweets it searches for and reads, simple tags like “i hate it when…” or “i feel so alone…”. What emerges is a funny but sort of horrifying monument to the collective banality, tragedy, and posturing which we plaster all over social media.
The Lamentation was exhibited at the Banff Centre For Arts and Creativity in 2013 as part of a performance night during Interventions – Literary Practices on the Edge.
In The Cage, which references Martin Vaughn-Jame’s seminal 1975 graphic novel of the same name, the camera floats forward through an infinite suburb. The winds gather and swirl. Unseen forces push the debris of modern live ever forward. Collisions and crashes give way to new, tangled forms, as objects break apart, tessellate, and explore, building into one swirling mass.
The Cage was created in Unity and is a roughly 10 minute looping simulation.
Point of Origin is a generative program, written in Processing, that reads an inputted book, sentence by sentence, using a variety of analysis and algorithms to derive from that music and visuals referencing DNA, biology, and biological renderings. It’s name and theme come from it’s origins in a submission for a show remixing The Origin Of The Species.
Never Be Lonely Again is a performative board game. Participants sit across from one another at a table and pull cards from social situations. The cards have text extracted from a variety of self-help and advice books on having meaningful conversations, impressing people, and making friends. The cards offer directions and guidelines, such as how long to hold eye-contact for, how to insert casual references to your own interests into a statement, and how to phrase questions in a diplomatic and friendly ways.
Depending on how rigorously players follow the rules, the conversations that result are either awkward, stilting pantomimes of interpersonal communication, or a glib but surprisingly useful framework to approach a real connection.
Never Be Lonely Again was made for Gestures, a show at the Alberta College of Art and Design in 2015 curated by Nick Heer.
Recollector was a projection-mapped looping animation made in Unity3D for the Spectral Illuminations II event, sponsored by EMMEDIA Gallery & Production Society and Beakerhead. It was exhibited on September 13th, 2017.
More to come later.
Dreamhouse is an Augmented Reality app for Android and IOS meant to be viewed in an installation context. A photograph by Jean-René Leblanc comes to life when viewed via mobile device and serves as a portal to experience an abstract mediation on notions of migration, home, crisis, and futility.
Never Be Lonely Again is a performative board game for two, where participants
You Are Here is a 40 min real-time simulated short film made and performed in Unity3D, and in collaboration with Jadda Tsui. Before the screening, the audience is invited one a time into a booth to be interviewed and have their face captured. The results of these interviews in turn drive elements of You Are Here’s story and structure, and the audience itself pops up as the characters. You Are Here is largely performative- live narration and interaction is important and ensures, like a digital play, that no two performances will be the same. The simulation also will sometimes do entirely unexpected or unfortunate things, and wrangling it in the right direction is an equally important aspect.
(PRESS AND IMAGES HERE)
Technical Contracting : Mat Lindenberg
Exhibited at the Alberta Gallery of Art, May 27th to September 10, 2017, as part of for the time being, the 2017 Alberta Art Biennale, a joint exhibition by the Alberta Gallery of Art and the Walter Philips Gallery at the Banff Centre for Arts and Creativity.
For this project, I was brought in to do exploration, iteration, and setting up of systems and tools in Unity3D so the artists could realize their project. I explored methods for animating, deforming, generating, attaching, and altering generative sculptures, tracking body and head movement, and creating easy to use data structures and methods to implement the effects desired by the artists.
I did a series of animated postcard-like backdrops for the Calgary Philharmonic Orhectra‘s performance of The Seven Deadly Sins by composer Kurt Weill and librettist Bertolt Brecht, starring Ute Lemper, on the 30th of October 2015.
This project was Art Directed by Kurtis Lesick, Project Directed by Greg Debicki, and I served as Senior Artist on The Seven Deadly Sins and live cinema coordinator/performer along with Kaylee Novakovski for the second half opera, a performance of Philip Glass‘s Fall of the House of Usher. Jadda Tsui also did some stuff.
These were meant to be unobtrusive, slyly satirical, and slowly changing, and depict the main characters travel across Canada as they run afoul of the capitalist system.
Performed along with the Calgary Philharmonic Orchestra’s performance of Turangalîla-Symphonie by Olivier Messiaen. Directed by Kurtis Lesick, Technical Direction by Craig Fahner, Animation by Kelly-Ann Desouza, Video by Kaylee Novakovski, and Programming by Mat Lindenberg.
For this project I worked on the visualizer, where we tried to computationally bring to life Messiaen’s synthesia by using live audio from over a dozen instruments in the orchestra to drive and control a visualizer, which was written from scratch in Processing. Scales, arpeggios, crescendos, changes of pitch and volume and clarity, everything possible was tracked and used to trigger and modulate colour and animation in line with Messiaen’s own liner notes as much as possible.
Here was some press stuff:
Exhibition in the New Gallery +15 Space, August 31 – September 29th, 2017. Calgary, AB, Canada
In Collaboration with Jadda Tsui.
Song For The End Of The World was a month long installation in the New Galleries +15 Window Space. Every day, plastic balls were slowly, automatically released in hourly intervals to filter through a series of boards and obstacles, blown around aimlessly by fans drifting in and out of sync.