ABOUT ME > I have been working with Isadora since 2007 as a key part of my creative practice and collaborations. I have designed projections for dance, theatre and opera, often being part of the early development and rehearsal stages, as well as operating the perormamnce. I have created interactive installations for the public realm, from one-off installations at festivals, to robust semi-permanent installations in museums and galleries. I use Isadora as part of my general research and development, processing video to generate knitting patterns (!) and create reactive soundtracks. I also offer consultation, developing or refining isadora patches for exhibition or performance. Finally, I have run many Isadora workshops, for newcomers, professional artists, design students, dancers,
Clients and Collaborators include > 20 Stories High, Bluecoat Liverpool, Chaturangan Dance, FACT, Matthew Herbert, Mutek, ONF, Quartier des Spectacles, Royal Opera House, Shobana Jeyasingh Dance, Signal Films, Tmesis Theatre
DANCE / THEATRE / PERFORMANCE
I have used Isadora to develop projections for numerous performance projects, including:
Nude (2016, Dir. Mathew Herbert) Roundhouse, London, UK
Bayadere (R&D) (2015, Shobana Jeyasingh) London, UK
Cassandra (projection design / operation) (2014, Dir. Ludovic Ondeviela, set design Becs Andrews) Royal Opera House, London, UK
Through His Teeth (2014, Dir. Bijan Shebani, set design Becs Andrews) Royal Opera House, London, UK
The Crackle (2014, Dir. Mathew Herbert, set design Becs Andrews) Royal Opera House, London, UK
That's Amoré (R&D) (2014, Tmesis Dance, set design Lois Maskell) Unity Theatre, Liverpool, UK
A Wondrous Place (2013, Dir. Chris Meads, set design Lois Maskell) touring, UK
The Universe and Me (2012, 20 Stories High, set design Katie Scott) Black-E, UK
Un Clou, son Marteau et le Beton (2009, Pierre Alexandre Tremblay) Huddersfield Contemporary Music Festival, UK
Da Boyz (2009, Encounters) touring, Liverpool, UK
Be My Guest (2008, Encounters) touring, Liverpool, UK
A Different Tune (2008, Chaturangan Dance) touring, NW, UK
Creating new poetic structures be recalling recalling and remixing texts from databases, and even including real-time submissions from audiences.
These interactive video installations uses Isadora primarily to map the projection and treat the camera feed to precisely calibrate chromatic feedback systems. In addition, analysis of the video feed is also used to control a reactive sound patch of audio files and real-time effects.
Interactive Projection Mapping
PORTALS interactive video installation that encourages whole body movement to trigger animation. Isadora is used to map the projection, treat the video feed, and calibrate the sound reactive audio design.
Generative / Reactive Sound Design
Both these animations use Isadora to generate and manipulate the soundtrack in response to the colours onscreen.
I am interested in simple methods of camera tracking and how they can be incorporated into artistic practice. 'Interactive Balafon' (left) uses follows the movement of users to trigger video clips to 'play' the instrument. I recently developed a series of workshops for artists interested in learning these techniques.
Live Video Feeds - switching surveillance
Using multiple camera feeds for installation and performance. These projects both incoportate multiple cctv video feeds composited with pre-recorded material to create a feeling of surveillance.
Camera Tracking > Generating Binary Values
Using camera tracking and image analysis techniques to generate live data from a punchcard knitting machine. This data is used to programme colours for projections and RGB lights via the dmx protocol.
Using live midi signals from extrernal audio sofdtware and equipment to generate animations with random parameters, combined with a manual controls.
Generative video installations using randomisation of media. Isadora draws videos from a database of clips, and adds real-time video and audio effects to create never ending naratives.