In this podcast you will learn how artists Alex Moss and Maggie May Jeffries developed a shared creative process that bridges traditional painting and interactive media.
In this interview, Alex Moss and Maggie Jeffries discuss the creative process behind The Weather at midnight. The exhibition combines painting, projection, and real-time interaction to create a shifting environment of light and movement. Through subtle digital overlays and live painting, static canvases become dynamic, evolving works that change with audience presence. The exhibition was presented at Moonah Arts Centre.
Alex Moss is a Lutruwita/Tasmanian-based media artist whose work transforms spaces through projected light, sound design, and interactive elements. Maggie May Jeffries is a painter from Lutruwita/Tasmania whose practice explores memory, environment, and sensory experience through layered, detailed compositions.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction to artist collaboration
(00:01:18) Meet Maggie and Alex
(00:01:52) The weather at midnight project
(00:04:17) Audience experience and interaction
(00:05:51) Inspiration and process
(00:09:11) Live painting and performance
(00:18:06) Workshops and collaboration
(00:23:26) Future directions and advice
(00:25:13) Conclusion and farewell
About Alex Moss
Alex Moss is a media artist based in Lutruwita/Tasmania and a member of Second Echo Ensemble. With over ten years of experience, his work spans projection, sound design, and interactive installation, transforming spaces through light and sensory engagement. He has created work for the University of Tasmania, Hobart City Council, the Tasmanian Museum and Art Gallery, and the Huon Valley Mid-Winter Festival. Alex received the 2023 Best Sound Design Professional Theatre Award for Outside Boy with Second Echo Ensemble. His practice explores how digital systems and performance environments shape audience perception and collective experience.
About Maggie Jeffries
Maggie May Jeffries is a painter based in Lutruwita/Tasmania and a member of Second Echo Ensemble. Her practice explores memory, place, and the natural environment through layered paintings that merge observation with imagination. She graduated with First Class Honours in Fine Art and Psychology from the University of Tasmania in 2022. Maggie has undertaken residencies in Paris and lutruwita/Tasmania and works with artists of all abilities through mentoring and community engagement. Represented by Despard Gallery, she received the NEXT Award in 2018 and was a finalist in the 2024 Women’s Art Prize Tasmania.
Links from this podcast with Alex Moss and Maggie Jeffries
In this podcast you will learn why curiosity matters more than technical skill.
In this interview, Matthew Ragan explores coding as a practice of sculpting and rehearsal, showing how collaboration with technology leads to more fluid and sustainable creative outcomes.Matthew Ragan is a California-based creative technologist, educator, and co-founder of SudoMagic. He has an MFA in interdisciplinary digital media and performance. His TouchDesigner tutorials are used by creatives worldwide.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction and host's acknowledgment
(00:00:48) Guest introduction: Matthew Ragan
(00:01:15) The importance of curiosity in creative coding
(00:02:31) Exploring noise algorithms and sculpting
(00:05:08) Lessons from circus performance to coding
(00:07:17) Balancing creative and commercial projects
(00:09:15) Matthew's journey into coding
(00:22:03) Choosing the right tools and languages
(00:24:03) Advice for newcomers and final thoughts
(00:30:55) Conclusion and call to action
About Matthew Ragan
Matthew Ragan is a California-based creative technologist, educator, and artist whose work bridges performance and technology. With a background in acting, dance, and circus arts, he brings embodied lessons of rehearsal and collaboration into his creative coding practice. He has shaped a generation of artists through his widely used TouchDesigner tutorials, and professionally he has led large-scale projects at Obscura Digital and the Madison Square Garden Company, including Art on theMart and the MSG Sphere. He is the co-founder of SudoMagic, a boutique software and design studio.
Links from the podcast with Matthew Ragan
In this podcast, discover how physical prototyping, water systems, and shifting sound and light bring Georgie Friedman’s installations to life.
In this interview, Georgie Friedman explores the creative process behind Dissolution, an immersive installation blending spatial sound, projection-mapped video and dripping water to evoke a dark, cave-like stillness. The work was installed at Gallery A2, part of Artisans Asylum, a collaborative makerspace in Boston.
Georgie is a Boston-based interdisciplinary media artist and educator. Her background in film, sculpture and digital media informs a practice rooted in physical experimentation, environmental phenomena and spatial design.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction to the Dissolution
(00:00:33) Podcast introduction and acknowledgements
(00:01:14) Interview with Georgie Friedman begins
(00:01:35) Exploring the installation Dissolution
(00:03:06) Concept and inspiration behind the piece
(00:05:46) Technical aspects and challenges
(00:09:42) Projection mapping and unexpected outcomes
(00:16:24) Reflections and future projects
(00:17:42) Advice for aspiring artists and conclusion
About Georgie Friedman
Georgie Friedman is a Boston-based interdisciplinary media artist whose immersive installations explore psychological and societal relationships to natural phenomena. Her work integrates large-scale video projection, sculptural forms, spatial sound and physical elements like water to create contemplative, sensory-rich environments. Drawing on site-based research and footage, she reflects on themes of climate, transformation and human fragility. Georgie holds an MFA from the School of the Museum of Fine Arts at Tufts University, where she currently teaches. Her projects have been exhibited internationally and commissioned for public spaces.
Links from the podcast with Georgie Friedman
In this podcast, you’ll learn how Johan F. Karlsson uses observation, intuition, and the concept of ma to shape site-specific installations that reveal subtle changes in space and time.
In this interview, Johan F. Karlsson talks about the creative process behind Against the day and The space that remains. The installations are part of the exhibition Forever is nothing, developed during Johan’s residency at Space Department, a Japanese residency program that supports architecture and spatial-based art practices.
Johan F. Karlsson is a Swedish artist whose work investigates time, space, and ephemeral processes. His practice spans video, performance, photography, and sculpture. He holds an MA in Photography from Aalto University and a BA in Culture and Arts from Novia University of Applied Sciences.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction and acknowledgements
(00:00:38) Exploring the concept of 'ma'
(00:01:21) Artistic process and residency experience
(00:02:43) Creating 'Against the day'
(00:04:37) Creating 'The space that remains'
(00:07:53) Reflections on artistic practice
(00:15:07) Advice for aspiring artists
(00:16:15) Conclusion and farewell
About Johan F. Karlsson
Johan F. Karlsson is a Malmö-based artist whose work spans photography, video, performance, and sculptural installations using natural materials. With an MA in Photography from Aalto University and a BA in Culture and Arts from Novia University, his practice explores time, space, and perception through slow, ephemeral processes. Drawing on site-specific phenomena and the transience of materials, Johan's work invites viewers into a deeper connection with the rhythms of nature and the passage of time. His installations often examine how change and duration shape human experience.
Links from the podcast with Johan F. Karlsson
Visit the Space Department website
Read Robin’s reflection on exhibiting at Space Department – House shows: Reflections on space and interaction
Learn more about Against the Day
Learn more about The Space That Remains
What does it mean to make art for a forest—not just about it? Keith Armstrong explores this question through his long-term project Forest Art Intelligence, which blends ecological recovery with creative experimentation.
Forest Art Intelligence is a project that regenerates a cleared block of land into a native forest. Developed in partnership with the Samford Ecological Research Facility (SERF) and the Terrestrial Ecosystem Research Network (TERN), the project will be supported in 2024 through an ANAT Synapse Residency.
Keith’s work challenges how we engage with ecological systems—inviting participation, reflection, and action.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction and acknowledgements
(00:00:56) Welcome and project overview
(00:02:09) Forest art intelligence explained
(00:03:27) Art intelligence and environmental regeneration
(00:07:35) Scientific collaboration and data collection
(00:08:21) Gardening vs. regeneration
(00:20:51) Collaborating with nature
(00:26:46) Advice for creatives
(00:28:31) Conclusion and wrap-up
About Keith Armstrong
Keith Armstrong is an artist whose practice is grounded in ecological and social inquiry. He creates participatory, site-specific and technologically embedded works that ask how art can become a tool for rethinking our relationship with the environment and systems. He has led and created more than sixty major art and research-based projects. His work has been supported by fellowships from Creative Australia, the Australian Network for Art and Technology (ANAT), and the Synapse Art-Science Residency program.
Links from the podcast with Keith Armstrong:
In this podcast, you will learn how Lacunae, an interactive installation by Tasmanian artist collective Soma Lumia, has evolved through multiple iterations. Lacunae is an interactive installation that enables people to dance with others in different locations through projected silhouettes and sound.
In this conversation, Darryl Rogers and Troy Merritt from Soma Lumia share the journey of Lacunae. The project was born during COVID-19 to rethink how technology shapes human connection. It was originally designed for the Mona Foma festival as events began to re-open after the COVID-19 lockdowns. Since then, it has evolved, layering live and recorded interactions—where dancers move not just across space, but across time. Lacunae has become an ongoing experiment for Soma Lumia.
Listen to this episode to learn about:
Chapters
(00:00:00) Introduction and welcome
(00:00:05) Exploring Lacunae: an interactive art experience
(00:01:07) Origins and development of Lacunae
(00:03:17) Evolving versions of Lacunae
(00:06:20) Audience reactions and memorable moments
(00:07:41) Prototyping and technical challenges
(00:15:19) Collaborative process and team dynamics
(00:20:41) Reflections and advice for future projects
(00:23:08) Conclusion and final thoughts
About Soma Lumia
Soma Lumia is a tech-art collective based in Launceston, Tasmania, founded in 2015. Their work explores the boundary between physical and digital, movement and technology, real and virtual. The collective has presented projects at Illuminate Adelaide, Botanica, Beaker Street, the South Australia Museum, the University of Houston, and Mona Foma.
Their practice is deeply rooted in experimentation and collaboration, bringing in new voices—technologists, dancers, musicians, and designers—to expand each project’s scope. Lacunae is a prime example of how their work evolves over time, rather than existing as a single fixed installation. The core members are Darryl Rogers, James Riggall, and Troy Merritt.
Links from the podcast:
What happens when an artwork is shaped by the unpredictability of public space?
In this interview Ariana Gerstein and Monteith McCollum discuss What We Bring, an outdoor installation that extends Ariana’s larger documentary project exploring migration, personal history, and overlooked traces of the past. While filming in Athens, Greece, she was drawn to a clothesline hanging in an old neighborhood—a simple yet powerful marker of everyday life. The street, surrounded by century-old markets and remnants of war, embodied layers of history intertwined with personal and familial narratives. This imagery became the foundation of What We Bring, where projected visuals interact with moving fabrics to evoke memory, presence, and impermanence.
Ariana is an experimental filmmaker whose projection installations and non-traditional cinematic works explore themes of memory, time, and personal narratives. Monteith McCollum is an inter-media artist working with film, sound, and sculpture.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction and acknowledgements
(00:00:52) Meet the artists: Ariana Gerstein and Monteith McCollum
(00:01:19) The concept and inspiration behind "What We Bring"
(00:01:52) Challenges and dynamics of outdoor installations
(00:04:27) Exploring the technical aspects
(00:10:25) Sound design and audience interaction
(00:21:17) Collaboration and creative process
(00:24:00) Lessons learned and advice for media artists
(00:30:32) Conclusion and final thoughts
About Ariana Gerstein
Ariana Gerstein is an experimental filmmaker and media artist who creates innovative projection installations and cinematic works. A Guggenheim Fellow and a Professor at Binghamton University’s Department of Cinema, her practice explores memory, time, and personal narratives through non-traditional filmmaking techniques. Her work has been screened at venues like the Museum of Modern Art and the European Media Arts Festival and has received awards such as the Gus Van Sant Award for Best Experimental Film. Supported by the Rockefeller Media Arts Fellowship and the National Endowment for the Arts, Ariana’s art challenges conventional storytelling and engages audiences in unique visual experiences.
About Monteith McCollum
Monteith McCollum’s acclaimed films have screened at venues such as the Museum of Modern Art, the Hirshhorn Museum, and festivals including SXSW, Hot Docs, and the European Media Arts Festival. A recipient of the IFP Truer Than Fiction Spirit Award, Monteith’s work has also been supported by the Rockefeller Foundation, the National Endowment for the Arts, and the New York Foundation for the Arts. In addition to filmmaking, he creates innovative sound compositions for films and performances, merging his expertise in storytelling and audio to deliver engaging, multi-sensory experiences.
Links from this interview with Ariana Gerstein and Monteith Mccollum:
In this podcast, you will learn how Rita Eperjesi is rethinking the way creative coding is taught with her project, DECODE: A Friendly Introduction to Creative Coding through Analog Techniques. Rita Eperjesi is a Berlin-based Hungarian artist and creative technologist dedicated to merging art and technology through innovative projects, international exhibitions, and educational initiatives. During the conversation, Rita Eperjesi shares her innovative approach to creative coding, emphasising the use of analog techniques like drawing and note-taking to make learning more accessible.
Her work aims to demystify coding for beginners by addressing common pain points such as error messages, isolation, and the challenges of abstract thinking.
Rita reimagines how coding can be taught by prioritising algorithmic thinking, encouraging learners to read code before writing it, and using hands-on tools like paper and pencil.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction to language learning and coding
(00:00:35) Acknowledging traditional owners
(00:00:59) Meet Rita Eperjesi: artist and technologist
(00:01:59) Challenges in learning creative coding
(00:04:51) Rita's approach: decode project
(00:07:35) Principles of learning coding
(00:09:53) Analog techniques in coding
(00:12:21) The role of community in learning
(00:17:50) Conclusion and final thoughts
About Rita Eperjesi
Rita Eperjesi is a Berlin-based Hungarian artist and creative technologist who bridges the gap between art and technology through her innovative projects and education initiatives. With an MSc in Creative Technologies from Film university Babelsberg Konrad Wolf and a background in architecture, Rita has earned accolades such as the Gold Prize at New Stars in Busan and a Cannes Young Lions award. Her work has been exhibited internationally, including “Life in Plastic” in Berlin and “Real-time War Rug” in Madrid. As the founder of Creative Code Budapest and co-founder of VJ Open Lab, Rita fosters creative communities and facilitates workshops in creative coding, projection mapping, and virtual reality.
Links from this Interview with Rita Eperjesi
In this interview, learn how to create immersive atmospheres that evoke self-reflection and emotional engagement in audiences.
This conversation features Matt Warren, an artist, musician, and educator based in Nipaluna/Hobart, whose work has been exhibited internationally in Canada, Germany, New Zealand, the USA, and across Australia.
Matt shares insights into the creative and conceptual processes behind Secular Ritual (selfie), his recent installation at Sawtooth Gallery in Launceston.
Drawing from ancient practices of using reflective surfaces and water for introspection, Matt’s work reimagines these rituals in a contemporary context. Incorporating everyday objects like selfie rings, mirrors, and fizzy water, he creates meditative spaces where participants can pause, reflect, and explore fluid identities.
We also explore how flexible spaces like ARIs (Artist-Run Initiatives) enable experimentation, the role of soundscapes and lighting in shaping immersive experiences, and the lessons Matt has learned from creating open-ended works that encourage personal interpretation.
Listen to this episode to learn about:
Chapters
(00:00:00) Introduction
(00:03:40) Exploring secular rituals through art and selfie rings
(00:08:31) Exploring sound as a catalyst for visual art creation
(00:11:12) Exploring the concept of Stimmung in German expressionism
(00:11:32) Creating authentic art spaces through flexible installation
(00:15:07) Creating spaces for personal reflection
Matt Warren
Matt Warren is a Nipaluna/Hobart-based electronic media artist, musician, and educator who creates installations, sound art, and single-channel video. His practice explores themes of memory, transcendence, and fluid identities, drawing on influences like psychedelia, hauntology, and digital abstraction to craft evocative, thought-provoking experiences.
As a musician, Matt performs and records electro-acoustic and drone music both as a solo artist and in collaborative projects. His work has been exhibited internationally, including in Canada, Germany, New Zealand, the USA, and across Australia.
Matt teaches sculpture, time-based media, and creative lab units at the University of Tasmania. His contributions extend to public art projects and festivals such as MONA FOMA, Dark MOFO, and The Unconformity.
Links from the podcast
In this interview, new media artist Yizhen Li shares the creative process behind Lava’s Lament, an immersive installation exhibited at Gray Area in San Francisco in early 2024 as part of Gray Area’s Cultural Incubator. Yizhen’s work blends soft materials, light, and projections to create a space that explores themes of femininity, memory, and the natural cycles that connect us to the environment.
Originally from Sichuan, China, Yizhen draws from traditional cultural elements and combines them with contemporary digital practices to create dynamic, multisensory experiences. Lava’s Lament reflects this approach, using a cone-shaped fabric structure as a vessel for projection and soundscapes inspired by volcanic imagery.
Listen to this episode to learn about:
Chapters
(00:00:00) Exploring femininity and nature through immersive art installations (00:03:19) Volcanic imagery, ecofeminism, and philosophy (00:05:00) Femininity and nature in immersive art (00:06:07) Prototyping immersive volcanic visuals (00:10:29) Materiality to immersive fluidity (00:14:20) Challenges with fabric projections (00:16:11) Materiality and living systems in media art (00:18:45) Flexibility and adaptation in audiovisual work
About Yizhen Li
Yizhen Li is a new media artist and designer whose work encompasses audio-visual installations, generative art, and experience design. Her practice is distinguished by the innovative use of soft materials, light, and projections, blending traditional cultural elements with cutting-edge digital techniques to create immersive, fluid experiences.
Originally from Sichuan, China, Yizhen integrates materials like rice paper and textiles with ephemeral light to explore themes of femininity, memory, and environmental cycles. With a background in studio arts, stage design, and human interaction design, her dynamic approach pushes the boundaries of immersive media, continuously evolving to connect audiences with deeper cultural and natural narratives.
Links from the podcast
In this interview, artist Nigel Helyer shares the creative and technical processes behind BioSphere | DataSphere, a series of works based on environmental data from the Tasman Fracture Marine Park. The project is a collaborative research effort involving the Institute for Marine and Antarctic Studies, the Australian Antarctic Division, and CSIRO. Based in Australia, Nigel is an internationally renowned sculptor and sound artist known for creating large-scale sound sculptures, environmental public artworks, and media installations that explore the intersection of poetics and technics.
Working closely with scientists, Nigel transformed complex datasets—like sea temperatures, underwater sounds, and DNA sequences—into physical and auditory forms that reveal the hidden rhythms of the marine world.
Listen to this episode to learn about:
Highlights
(00:06:00) Art and Science collaboration in marine environmental projects
(00:02:45) Transforming scientific data into art through 3D printing
(00:09:15) Art and Science: finding utility and philosophical connection
(00:10:51) Navigating collaboration
(00:15:55) Art and Science: a respectful division of creativity
(00:21:23) Learning code to transform data into musical art
(00:26:26) Building successful art-science collaborations through personal connections
About Nigel Helyer
Nigel Helyer is an internationally acclaimed sculptor and sound artist based in Australia, known for creating immersive sound sculptures, environmental public artworks, and interactive media installations that connect art, science, and technology. His practice is deeply interdisciplinary, frequently collaborating with scientific institutions on projects that use bio-logging, GIS techniques, and acoustic mapping to transform complex data into sensory experiences.
With a career spanning groundbreaking works like GeneMusiK and Host, Nigel has served as Artistic Director for large-scale projects such as The LifeBoat Project and has collaborated with leading institutions like the Paul Scherrer Institut in Switzerland and the Tropical Marine Research Labs in Singapore. As a visiting professor at institutions worldwide, he contributes to the art-science field with a focus on innovative research and audience engagement
Links from this interview with Nigel Helyer
In this interview, artist Bego M. Santiago discusses the creative process behind her series Cosmos: All That is Ordered. Cosmos: All That is Ordered is a series of installations that blends sacred geometry, science, and spirituality, creating hypnotic and introspective experiences.
Listen to this podcast to learn about:
Chapters
(00:00:00) Feedback - it’s harmonious, it’s hypnotic, it’s beautiful
(00:00:50) Introducing Bego M. Santiago
(00:01:54) Exploring the COSMOS series
(00:03:45) Science, spirituality, and sacred geometry
(00:06:42) Viewer reactions: meditative or unsettling?
(00:10:53) Working in a series
(00:14:37) Overcoming technical challenges
(00:25:08) Art as knowledge
About Bego M. Santiago
Bego M. Santiago is a visual artist born in Santiago de Compostela, working between Europe and the United States. Her practice spans various disciplines, from photography to scenography, with a focus on new media art and immersive installations
Bego's work investigates the boundaries between reality and representation, often through the use of light and holographic effects.
Links from the podcast
In this interview, Andrey Shibanov and Khristina Ots from SPLACES.STUDIO talk about the creative and technical processes behind the interactive sculpture "Megalith", which transforms a stone into an immersive, responsive soundscape.
SPLACES.STUDIO brings together artists, engineers, and scientists to collaborate on projects that combine light, sound, and natural elements, aiming to create sustainable, nature-inspired solutions. With a focus on innovation and environmental responsibility, their interdisciplinary approach leads to artworks that challenge traditional boundaries and encourage viewers to rethink their relationship with the natural world.
Megalith invites participants to engage with a large stone through tactile interaction, using a network of sensors and neural networks that trigger sounds recorded in a forest. The sculpture blurs the line between the organic and the technological, evoking a deeper connection to nature by allowing viewers to "hear" the stone's environment.
Listen to this podcast to learn about:
Highlights
(02:23) Bridging nature and technology
(14:37) Transforming stones into interactive sound art with neural networks
(21:59) SPLACES.STUDIO: Integrating science and technology for real change
(28:50) Advice on interactivity
About Khristina Ots
Khristina Ots is an art and science curator, researcher, and educator at SPLACES.STUDIO. She leads the curatorial department at the Art & Science Center of ITMO University, focusing on nature-driven technologies and interdisciplinary collaborations. A co-founder of the ASTA Award, Khristina has curated over 15 exhibitions and produced more than 20 projects. Her work has been featured at events like Ars Electronica and the Wrong Biennale. Khristina's curatorial approach emphasises the intersection of art, technology, and environmental philosophy, fostering a deeper connection to the natural world.
About Andrey Shibanov
Andrey Shibanov is the co-founder and creative producer of SPLACES.STUDIO and the founder and executive producer of COOLDOWN.PRO. He is an expert in modern editing and colour correction for cinema and advertising. Andrey has worked on commercials and music videos that have collectively garnered 560 million organic views. His work has earned recognition at international festivals, including Cannes Short Film Festival, Cannes Lions, and Manchester Film Festival. He has won numerous awards across both advertising and film industries.
Links from the podcast
Explore the intricate process of crafting immersive digital spaces with Simon Burgin. Simon Burgin creates immersive artworks and interactive installations featured in prominent venues such as The Lume in Melbourne and the National Museum of Australia. In this episode, Simon shares insights into his project, “Natures Store", an immersive moving image piece created using AI-aided photogrammetry to reimagine natural environments. "Natures Store" was featured as part of Immerse 2024, an event that breaks away from the traditional art gallery setting to share art in unexpected places across Knox, Melbourne, and Australia.
Listen to this podcast to learn about how:
Chapters
(0:00:08) Exploring immersive art through digital and natural environments
(0:04:58) Balancing art and design: iterative development and client needs
(0:09:31) Exploring AI tools in art and commercial work
(0:13:56) The challenges of knowing when to stop in creative work
(0:16:41) Creating immersive art by prioritising audience experience
About Simon Burgin
Simon Burgin is a New Zealand-born digital artist and creative technologist. With 18 years of experience, he explores themes like environment and duality through contemporary media. Simon has developed immersive artworks for venues such as The Lume in Melbourne and WNDR Museum in Boston. His work includes interactive installations for public spaces like Stocklands 'Aura' and museum exhibits for the National Museum of Australia. Simon's projects also extend to brand activations for Nissan and BMW, as well as live A/V performances at events like Dark Mofo and Melbourne Music Week.
Links from the podcast
Ever wondered about the environmental impact of your digital footprint? In this interview, Ali Phi discusses the creative process behind 'TWh (terawatt hours)'. 'TWh' is an installation that blends web technologies to explore the environmental impact of digital technologies. The installation was commissioned by the New Now Festival and exhibited at the Mixing Plant in Zollverein, an industrial coal mine complex and UNESCO heritage site in Essen, Germany.
Listen to this podcast to learn about how:
Chapters
(00:00:04) Exploring digital footprints through interactive art installations
(00:04:16) The environmental impact of data storage and digital technologies
(00:08:48) Art, technology, and social impact in Decompositions for computers
(00:15:56) AI-driven interactive art and its environmental impact
(00:17:13) Exploring AI and technology as tools for creative artworks
(00:19:49) Creating 3D models and prototyping
(00:24:12) Layers of audience experience in interactive art installations
About Ali Phi
Ali Phi, originally from Tehran and now based in Toronto, is a new media artist and creative technologist. His work intersects art, science, and technology through installations, autonomous machines, and performances. Focusing on the interplay between physical perception and cognitive exploration, Ali uses computer programming and generative algorithms to create interactive media that blend geometry, light, and poetry.
As the artistic director of TADAEX, he has been a jury member, mentor, and lecturer. His work has been exhibited at Ars Electronica, Mutek (Montreal, Santiago, Buenos Aires), the Ontario Science Centre, Patchlab Digital Art Festival (Poland), and Asia Now: Paris Asian Art Fair. He has earned awards from the Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council.
Links from the podcast
In this interview Joel Zika talks about the creative process behind “Valley of a Thousand Plants”. “Valley of a Thousand Plants" is an immersive installation that surrounds audiences with hyper-real animated plant forms that react to visitors' proximity. The installation is hosted at the Cube at the Multi-Arts Pavilion in Lake Macquarie, NSW, a 360-degree immersive digital projection space.
Joel Zika is a multimedia artist and educator currently teaching at Kent State University. He has a background in VR projects, documentaries, interactive animations, and public installations. During the interview Joel briefly discusses his PhD research on dark rides in amusement parks, exploring how the history of indoor ride design can inform contemporary media production.
Highlights
(6:01) The social dynamics of amusement parks and digital experiences
(8:55) Interactive art installations with sensor-activated plant animations
(19:28) Creating interactive spaces with simple tech
(29:08) Collaborative creativity
About Joel Zika
Dr. Joel Zika is an immersive media expert with a Ph.D. from Swinburne University in Melbourne He is currently teaching at Kent State University, where he continues to inspire the next generation of media artists. With over 15 years of experience, his work spans virtual reality films, documentaries, and public installations, showcased globally at venues like the Moss Arts Center and Dark Mofo. An educator at institutions such as Deakin and RMIT Universities, Zika also speaks at global events like South By Southwest. A key aspect of his research is the application of game engines for the location-based entertainment sector and virtual production.
Links from the interview with Joel Zika
Amalie Solande from Vertigo, a Copenhagen-based audiovisual artist collective, discusses their outdoor light installation, Siro, in this episode. The installation features a circle of large light tubes that change colour when approached by the audience, creating a magical and immersive experience. Amalie also shares insights into the collaborative process at Vertigo and the challenges they faced in creating the installation. Tune in to learn more about their unique approach to blending nature and technology in their art.
Highlights
(1:28) Interactive light installation transforms with audience proximity
(4:09) Unveiling the magic of fairy rings in nature
(5:01) Merging technology with nature
(7:43) Crafting magical light installations for a winter festival
(9:50) Integrating Sketchup and Touchdesigner for visual simulations
(13:16) Diverse skill sets in a creative team
(14:02) Collaborative dynamics in the team
(16:46) Overcoming weather challenges in outdoor light installations
(17:19) Risk assessment
(19:21) Illuminating the wave: a transformative light and sound journey
(20:36) Embracing fun in the challenges of light art
About Vertigo
Established in 2011, Vertigo is a Copenhagen-based audiovisual artist collective known for its inventive light installations, scenographies, and immersive experiences. Vertigo’s work often incorporates elements of nature and technology, creating a magical and contrasting experience for audiences. Vertigo's portfolio includes exhibitions at Copenhagen Contemporary, SNFCC in Athens, Centre Point in London, and many highly prestigious venues. The collective's success can be attributed to its members' unwavering dedication to their craft and shared vision.
Collaborations with the Copenhagen Philharmonics, Den Sorte Skole, Who Killed Bambi, DR Symphonic Orchestra, Lil Lacy, and Hotel Pro Forma have expanded Vertigo's creative horizons. In 2023, the collective earned a Reumert Prize nomination for their work on Sky66en.
Links from the podcast
- Learn more about SHIRO
- Visit the Vertigo website
- Follow Vertigo on Instagram
- Follow Amalie Solande on Instagram
This episode is an interview with artists Vicky Browne and Simon Reece about their innovative work, "Motherboard." Merging ceramics with technology, this piece invites viewers to experience interactive sculptures that emit varying tonal frequencies as they hold the objects. The piece was developed for a show called “Underground” that was held at the Blue Mountains Cultural centre from late 2023 to early 2024.
Vicky Browne, an interdisciplinary artist with a background in sculpture, and Simon Reece, a ceramic artist, both hail from the Blue Mountains, Australia. The interview explores the audience’s response to the interaction, and the process of developing the piece and the importance of collaboration in their practice.
Highlights
(0:02:04) Vicky describes the physicality of Motherboard and its interactive nature.
(0:03:01) People at the exhibition interacted with the sculpture, creating nonverbal communication.
(0:00:01) Simon discusses the importance of allowing space for creativity.
(0:06:09) The importance of tactile response and the freedom to touch ceramics in the artwork.
(0:07:00) Vicky and Simon’s focus on materiality and problem-solving in their collaborative process.
(0:09:22) The unique aesthetic and combined strengths that arise from their collaboration.
(0:12:40) Playing and problem-solving
(0:13:12) Collaboration allows for new and unexpected work
(0:14:29) Collaboration leads to making things they wouldn’t normally produce
(0:15:27) Learning from each other’s different approaches
(0:18:19) Technology embedded in our lives and materials
(0:19:19) Greater respect for materials through technology
(0:19:56) Exploring the interconnectedness of technology and materials
(0:22:44) Allowing space for collaboration and being open to different ideas
(0:23:52) Leaving ego at the door and effective communication
About Vicky Browne
Vicky Browne, an interdisciplinary mixed media artist from the Blue Mountains, NSW, completed her Master of Visual Art at Sydney College of the Arts in 2010. Her extensive exhibition history includes showcases at renowned venues like Artspace Sydney, Artspace Auckland, and Dunedin Public Art Gallery in New Zealand. Browne's participation in institutional group exhibitions, such as Living in the Ruins of the Twentieth Century at UTS Gallery and Sound Full at City Gallery Wellington, has bolstered her standing in the contemporary art sphere. Notable achievements include winning the 2013 Fauvette Loureiro Memorial Artists’ Travel Scholarship Prize. Browne's recent solo exhibition, Work/Play at Blue Mountains City Gallery in 2022, underscores her exploration of mixed media and interdisciplinary art, establishing her as a leading figure in Australian art.
About Simon Reece
Simon Reece is a distinguished ceramic artist celebrated for his expertise and inventive approach to ceramics. Trained at The National Art School, he delved into ceramics in the early 1980s, refining his craft under expert tutelage. A pivotal moment came in 1985 when Reece journeyed to Japan, immersing himself in wood firing ceramics under master Uneo Norihide's guidance in Bizen. This transformative experience shaped Reece's unique aesthetic and profound understanding of ceramic art. Back in Australia, he became a journeyman potter, collaborating with peers and constructing wood kilns. Reece's diverse portfolio spans tableware for top chefs, environmental sculptures, and global workshops, solidifying his influence in contemporary ceramics
Links from the interview and Vicky Browne and Simon Reece
In this interview Theresa Schubert a Berlin-based artist discusses her “Glacier trilogy”, a three-piece work that explores the transformation of glaciers in the face of climate change. The Glacier trilogy, which is the outcome from S+T+ARTS 4 WATER artist residency. The interview explores the creative processes behind the making of the trilogy, including working with generative AI and with a glassblower.
Listen to this podcast to learn about
Highlights (0:01:41) Theresa describes the Glacier trilogy as a three-piece work that explores glaciers and their transformation in the current climate crisis. (0:02:42) Theresa explains the first part of the trilogy, which includes a sound composition and a projection of synthetic glacier formation videos. (0:04:17) Theresa discusses the second part of the trilogy, which features glass vessels containing ice core melt water from glaciers, emphasising the fragility of the environment. (0:05:57) Theresa talks about the third part of the trilogy, a video sculpture that simulates glacial fluid systems and includes CO2 sensors that affect the simulation based on the presence of people in the exhibition space. (0:08:20) Theresa explains the importance of the topic of climate change and the role of art in bringing it to a wider audience through experiential and reflective approaches. (0:13:10) Theresa explains that she didn’t have specific ideas initially but was inspired by various inputs during the residency, including visiting an archive and translating the diaries of an Italian glaciologist. (0:16:20) Theresa discusses the difference between working with simulations of natural phenomena and using generative AI models for visual or text-based outputs. (0:18:03) The excitement of AI’s unpredictability and variation. (0:21:06) Working with a glass blower for the first time. (0:22:48 Researching and collaborating with scientists and experts. (0:24:54) Differences in physicality and bodily experiences between glass blowing and computer work. (0:28:46) Establishing lasting connections and relationships after the residency. (0:30:02) Advice for artists doing residencies: come with curiosity, network, and find something unique to the location.
About Theresa Schubert Theresa Schubert, operating at the confluence of alchemy and science fiction, is a visionary Berlin-based artist, researcher, and curator whose work interrogates anthropocentrism while fostering alternative visions and sensory experiences. With a PhD from Bauhaus-University Weimar, her work spans installations and performances that incorporate living organisms and AI, questioning the nature-culture divide in our digital age. Schubert's projects, recognized globally with awards from prestigious entities like the Japan Media Arts Festival and Prix Ars Electronica, engage deeply with environmental and ethical themes. As a curator and educator, she extends her inquiry into the unconventional, advocating for a harmonious intertwining of technology, art, and the natural world.
Links from the podcast
Camila Colussi, a Chilean artist based in London, discusses her sound-light interactive installation "Tectonic Lingering: A microPolitics of Time."The piece explores the concept of time and the acceleration of technology, inviting viewers to pause and reflect. The installation features an LED light display that responds to real-time earthquake data from around the world as well as an interactive sound component that tells stories about earthquakes and time. The interview explores experiences of time, place, and Camila’s process.
Highlights
(0:01:39) Camila explains the concept of "Tectonic lingering" and how it relates to her personal experience with earthquakes in Chile
(0:06:05) Camila describes the LED light display in the installation and how it interacts with earthquake data.
(0:07:20) Camila discusses the sound interactive system in the installation and how it tells stories about earthquakes and time.
(0:10:42) Robin reflects on how experiencing tremors in Chile changed Camila's awareness of the world.
(0:13:03) Camila discusses the fragility of the earth and how it can be taken for granted.
(0:15:13) Camila explains the intention behind creating an invitation to linger with the installation
(0:16:21) Camila discusses the use of headphones in the installation and how it enhances the immersive experience.
(0:19:34) Simplifying the technology for portability and accessibility.
(0:21:35) The piece started from a desire to explore slowness in technology.
(0:24:02) Making decisions and refining the concept over time.
(0:25:05) Writing, drawing, and prototyping to develop the piece.
(0:29:05) Challenges and iterations in the prototyping process.
(0:33:12) Advice for artists working with interactivity. Camila discusses the need for flexibility in physical computing projects.
About Camila Colussi
Camila Colussi, a Chilean artist based in London, has an MFA in Computational Arts from Goldsmiths University of London and currently works at Kingston University. She works across mediums like installation, video, sound, objects, and interactive technologies. Her art explores the nexus of technology, politics, and human experience, focusing on the political dimensions of time, care, and sensing technologies. Colussi's pieces have graced prestigious venues globally, earning her accolades like a 2023 Lumen Prize nomination and grants such as the 2020 FONDART Nacional from the Ministerio de las Culturas, Chile. She is also a sought-after speaker and educator, sharing insights worldwide.
Links from the podcast
Learn more about Tectonic Lingering: a microPolitics of Time Visit Camila Colussi’s website Follow Camila Colussi on Instagram