An active visual arts practice is a fundamental component of my HCI work; I focus on understanding the aesthetic and emotional components of interaction, and I make art to more deeply explore our emotional connections to digital objects and experiences (and to keep my prototyping skills sharp).
I’m intrigued by the ways we imbue virtual objects with their own vitality and presence. We’re moving into an era where technology will enable the creation of exceptionally vibrant digital objects through combinations of AI and physically accurate real time graphics in virtual 3D space, and it seems inevitable that this trend will only increase our emotional connection to digital objects.
I’m also fascinated by the elborate construction of 3D modeled characters and environments. 3D art making is a notoriously technical and complex undertaking, blurring the lines between artist and technician; I find the challenge of balancing technical skill with creative expression especially relevant to interactive experience design.
My current work explores the imagined interior emotional lives of various characters and avatars.
I frequently use characters that are only partially completed or that have become temporarily corrupted by the software. The below unexpected results occurred during modeling and texturing– misaligned skin textures and bodies stuck in floors and walls — and caused the characters to exhibit a particular kind of vulnerability.
The harlequin figure below is my originally intended composition, but various glitches occurred during the design process that resulted in a number of alternate identities (black eyes, fur growing from cloth, and the like).
Many of the pieces from this digital series ultimately become large physical canvases; interacting with virtual work off-screen in the physical world requires viewers to evaluate the work in a different context.