Performance engine: immersivity, artist and audience

Working with live simulation, performance capture, installation and video, I collaborate with artist Ruth Gibson to create immersive experiences, linking technology and choreography. Examining figure and landscape, I aim to discover new performance spaces. Many projects explore haptic interfaces and recreations of environments, immersing the viewer to enhance the experience of the artwork.<br><br>I challenge my skills sets and by learning new tools labour to understand how a system operates, affecting my process. I can fail in the studio and take risks in exhibition in order to find a future potential. Interactive works demand different engagements - the formats Ruth and I use encourage audiences to embark in our work.<br><br>The background to the research is that since the 1980s artists have been creating interactive worlds with Virtual Reality, Artforum Magazine recently featured ultimate Generation X'er, author Douglas Coupland talking about VR:<br><br>It's the ultimate hot medium, it hijacks both your reptile brain and your frontal cortex, as well as your vestibular system.<br>(Coupland and Birnbaum 2017)<br><br>It seems timely to consider how my original and current artistic investigations dovetail and expand this emerging area. For over 20 years, my practice has created novel experiences, gaining new knowledge by means of innovative practice and through the outcomes of those experiments, installations, artefacts and exhibitions, sharing the results. I approach projects, situated in these `virtual spaces, as an opportunities to expand ideas, testing them through exhibitions escaping from theoretical beginnings. Developing new technology is not my end goal; I aim to create experiences, artworks that resonate with the audience.