Concept Development Gallery:
WIP Show 2018:
First 360° Experiments:
Drawing from the aesthetics of science fiction and rendered CGI, Real VR, Fake VR recreates the illusion of virtual reality using the least technology possible. The images are comprise of UV lights, fluorescent post-its and electrical tape photographed and filmed bypassing much of the post production process. In a culture where digital imagery is the norm, these experiments embrace playfulness and imperfections to create believable environments. Having begun initially as a response to the technical challenges as a newcomer to Unity software and GoPro rigs, my studio practice has largely relied on a Samsung phone, 360° camera and an app. What began from necessity has produced a workflow where the emphasis has been on experimenting how to begin creating content unique to 360° and VR.
I have approached this project with a 'Système D' approach; of making the best with what you have available. The walls to my first set were lighting reflectors found in the street, I borrowed a UV lamp from my previous employers, foamboard structures were hand cut and glue gunned together, both smoke and mirrors have been incorporated on shoots. Locomotion was tested using my housemate's parmesan grater, fishing wire and a mini camera skateboard. In order to test cameras during the daytime, UV experiments were set up in the toilet and the final film set was four metres long built in my lounge. The resulting film is still work in progress but the tangibility of the dust, stains in the wood and happy accidents create a look and feel that would be challenging to achieve with computer software.
My main source of inspiration has been Cinema with it’s lineage of theatre, magic and opera. I see comparisons to current content being produced in 360°/ Virtual Reality and primitive cinema. There are also parallels in terms of current marketing hype about 360°/VR and until recently 3D Cinema; a medium that despite technological developments never graduated fully to being taken seriously. I also find comparisons with the potential for 360°/VR to be an art form in its own right if it is taken in interesting directions, and that in similar ways in which expanded cinema practitioners rejected the Institutional Mode of Representation (IMR) of film's rules, then 360° and VR has the potential to be very experimental whilst conventions are not yet formalised.