Creating New Spaces: Interviews with artists redefining spaces through technology

In this podcast you will learn how Kit Webster moves between digital visualisation, physical prototyping and audiovisual composition to create large-scale media art installations.

Kit Webster is a Melbourne-based audiovisual artist whose practice combines projection, LED light, lasers, sound, sculpture and movement. His work has been presented internationally through galleries, festivals, concerts and commissioned projects.

In this conversation, Kit traces his move from projection mapping towards programmable physical light. He discusses Symbiotica, a permanent geometric LED sculpture commissioned for Imperial Doncaster, and explains how its three-dimensional structure was developed through visualisation, fabrication, custom electronics and software.

The conversation also moves into The Helix, a kinetic sculpture using rotating mirrors, projection, haze and sound, and Orbital, Kit’s current project centred on a large sphere suspended within a column of air. Orbital introduces new challenges around machine vision, low-latency projection mapping and tracking a surface that is constantly moving and deforming.

Kit also reflects on the practical conditions surrounding this work. These include presenting concepts before they physically exist, balancing engineering with audiovisual choreography, designing installations that can travel between festivals, and deciding how much technical precision is actually necessary for an artwork to succeed.

Listen to this podcast to learn about:

• How moving from projection mapping to LED changed Kit’s approach to physical space.

• Why Kit prototypes the most technically uncertain parts of an installation early.

• The difference between simulating an installation and experiencing light, sound and scale physically.

• How commissioning, transport and repeated exhibitions affect the development of media artworks.

Chapters

(00:01:56) Moving from projection mapping towards physical light

(00:05:36) Developing Symbiotica as a geometric LED sculpture

(00:07:49) Rapidly prototyping animation across physical light structures

(00:11:08) Using 3D visualisation and simulation during development

(00:16:33) Why physical installation cannot be fully represented on screen

(00:18:55) Developing The Helix with mirrors, projection, movement and sound

(00:25:49) Prototyping the levitating sphere for Orbital

(00:29:05) Tracking a moving object with low-latency projection

(00:35:10) Sharing unfinished work and opening up the creative process

(00:39:48) Moving an ambitious idea into physical space

About Kit Webster

Kit Webster is a Melbourne-based audiovisual artist working across immersive installation, kinetic light, projection, lasers, sound and sculptural systems.

His practice explores relationships between light, sound, geometry and physical space. Beginning with projection mapping and audiovisual performance, his work has increasingly incorporated programmable LEDs, kinetic structures and other forms of physical light.

Kit’s work has been presented internationally through festivals, exhibitions and commissioned projects, including Vivid Sydney, Dark Mofo, White Night and SIGNAL Festival. His projects range from permanent architectural light works to temporary audiovisual installations and experimental prototypes

Links from the podcast with Kit Webster

• Visit Kit Webster’s website
• Learn more about Symbiotica
• Learn more about the Helix
• Explore the development of Orbital

In this podcast you will learn how early risk planning can help you protect the creative objective, work through uncertainty, and deliver ambitious media art in public spaces.

Emily O’Brien provides risk, safety, and crowd management services for cultural organisations, festivals, and arts projects. Before specialising in these areas, she worked for around 20 years as a production manager across arts festivals, contemporary dance, theatre, and unconventional creative projects.

In this conversation, Emily explains why she believes risk management should begin with the first project discussions rather than becoming a document produced shortly before opening. She introduces structured what-if meetings as a way to identify unknowns, roadblocks, and resource requirements while there is still time to respond.

The conversation also examines the specific conditions of media art in public spaces. Audience dwell, pedestrian movement, long operating periods, power, neighbours, and unexpected increases in visitation can all affect how an artwork operates. Emily explains why an installation that becomes popular through social media may need to respond to audience patterns very different from those originally expected.

Drawing on projects including Melbourne's Flash Forward and festival installations involving fire, Emily discusses how artists, engineers, councils, and production teams can find practicable solutions together. Rather than treating risk as a reason to remove difficult elements, she argues that early collaboration can help protect both audiences and the creative intention.

Listen to this episode to learn about:

• How to introduce risk planning during the earliest stages of creative development.

• Why public-space media art requires attention to audience dwell, pedestrian movement, and changing visitation.

• How artists, engineers, and other stakeholders can develop risk controls without losing the central creative objective.

Highlights

(00:02:13) Defining risk as uncertainty around project objectives

(00:04:34) Treating the creative objective as part of risk planning

(00:07:41) Starting with a structured what-if meeting

(00:10:00) Why risk needs to be contextualised for every project

(00:10:51) Balancing time, people, and money

(00:12:51) Risk and audience dwell in public media art

(00:17:46) How social media can change visitation

(00:18:44) Using risk planning during Melbourne's Flash Forward project

(00:22:40) Bringing different stakeholders into the process

(00:26:57) Understanding actual and perceived risks around fire

(00:28:55) Designing safety controls into the audience experience

(00:31:51) Psychological hazards and changing safety practice

(00:34:06) Using AI alongside standards and professional judgement

(00:35:32) Using risk to build stakeholder support

About Emily O’Brien

Emily O’Brien is a risk, safety, and crowd management specialist working with cultural organisations, festivals, and arts projects. She previously spent around 20 years working as a production manager across arts festivals, contemporary dance, and theatre, including projects that required unconventional approaches to production.

As her practice shifted towards risk and safety, Emily completed a master's degree in crowd science and risk analysis through Manchester Metropolitan University. Her experience includes public-realm projects and festivals such as Flash Forward, Dark Mofo, Rising and Mona Foma.

Her work focuses on integrating risk thinking into project development, helping creative teams address uncertainty, crowd behaviour, safety, resourcing, and compliance while maintaining the central creative objectives of a project.

Links from the podcast

• Visit Emily O’Brien's consultancy website
• Learn more about Melbourne's Flash Forward program
• Visit the Dark Mofo website
• Visit the Rising website
• Learn more about PAC Australia
• Learn more about Creative Workplaces

In this podcast, Nigel Helyer explains how public artworks are designed for specific lifespans, how media installations can be maintained as their technologies age, and why contracts are central to the long-term maintenance of art in public spaces.

Nigel Helyer is an internationally acclaimed Australian sculptor and sound artist who creates public artworks, sound sculptures and interactive media installations. His interdisciplinary practice connects art, science and technology through projects involving environmental research, acoustic mapping, biological systems and spatial sound.

In this conversation, Nigel draws on decades of public art practice to question the idea of permanence. He discusses Dual-Nature (Ebb and Flow), a large-scale sound sculpture installed at Woolloomooloo in Sydney in 1999. Positioned partly within the water, the work used mild steel forms designed to corrode over a calculated 25-year lifespan. He also reflects on other media artworks, including Wireless House and Silent Forest, to consider how changing technologies affect their maintenance and conservation.

Listen to this podcast to learn about:

• Designing public artwork around an intended lifespan.

• Using corrosion and material decay as planned elements.

• Maintaining sound and interactive art as technology changes.

• Preparing maintenance manuals and service arrangements.

• Negotiating fees, production budgets and contractual risk.

Chapters

(00:00:09) Rethinking permanence in public art

(00:02:46) A 100-year sculpture for the Seoul Olympics

(00:03:00) Contracts and expected lifespans

(00:04:02) The history behind Dual-Nature (Ebb and Flow)

(00:06:00) Calculating corrosion and planned decay

(00:07:14) Maintaining an early solar audio artwork

(00:09:26) Documenting why the work should rust

(00:09:36) Moving from video towards spatial sound

(00:13:07) Temporary culture and public art

(00:14:18) Turning spaces into places

(00:15:24) Contested histories at Franklin Square

(00:17:56) Maintaining Wireless House

(00:21:36) Updating the technology in Silent Forest

(00:23:57) Public artworks that were lost or neglected

(00:27:41) Inherent vice in media art

(00:28:00) Advice for working in public spaces

(00:29:23) Contracts and financial risk

(00:30:17) Separating artist fees from production costs

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.

Public art has been a significant part of Nigel’s practice for decades. He has created large-scale, site-responsive works for urban, architectural and environmental settings, often using sound to shape how audiences experience a place. His projects explore the practical and conceptual challenges of permanence, maintenance, material change and technological obsolescence.

Links from the podcast with Nigel Helyer

• VisitNigel Helyer’s website
• ExploreDual-Nature (Ebb and Flow) on Nigel Helyer’s website
• Learn more aboutDual-Nature (Ebb and Flow) through the City of Sydney
• Read aboutthe conservation ofDual-Nature (Ebb and Flow)
• Learn more aboutWireless House on Nigel Helyer’s website
• ExploreSilent Forest on Nigel Helyer’s website
•

ExploreTwo Islands, Nigel Helyer’s public artwork in Franklin Square

In this interview, Craig Walsh explores the creative process behind Monuments. Monuments is a long-running outdoor projection project that uses projected portraits on trees to create temporary public monuments. The project began at Woodford Folk Festival in 1993, when Craig discovered how a projected portrait could align with the form of a tree and become a sculptural presence in public space.

Craig Walsh is an Australian artist known for pioneering approaches to projection, installation, and site-responsive public art. Over more than 30 years, his work has animated trees, rivers, mountains, urban architecture, and live event environments across Australia and internationally with projections.

In this conversation, Craig discusses how Monuments has evolved from early slide projections into a touring project shaped by each site and community. The structure of the work remains clear: projection, trees, night-time public space, portraiture, and temporary monument. What changes is the community, the selected people, the site, and the local meaning attached to each portrait.

Listen to this podcast to learn about:

• How Craig thinks about projection as sculpture rather than screen-based video.

• Why subtle movement can be more powerful than direct interaction.

• What artists need to consider when making media art in public space.

Chapters

(00:00:00) Working outside the gallery

(00:02:18) Projection as sculpture and installation

(00:05:42) The origins of Monuments

(00:15:18) Choosing who is represented in public space

(00:19:10) Stillness, sound and subtle movement

(00:20:31) Weather, trees and outdoor uncertainty

(00:24:17) Projection, spectacle and light festivals

(00:25:59) Touring Monuments and installation process

(00:34:20) Trust, responsibility and representing people at scale

(00:37:20) Advice for artists working with projection in public space

About Craig Walsh

Craig Walsh is an Australian artist known for pioneering approaches to projection, installation, and site-responsive public art. Over the last 30 years, his work has animated unconventional sites, including trees, rivers, mountains, urban architecture, and live event environments across Australia and internationally. His practice combines digital media, public space, and strong conceptual frameworks to create large-scale works that respond to the conditions and histories of each site. Craig has also developed major community-based projects, including Home Gwangju in South Korea, Traces—Blue in Setouchi, Japan, and FIVE with DADAA Inc. in Western Australia.

Links from the podcast with Craig Walsh

• Learn more aboutMonuments
• Visit Craig Walsh’swebsite
• Follow Craig Walsh onInstagram

In this podcast you will learn how Georgie Pinn designs interactive media artworks for public space. You’ll hear how Georgie builds participation, accessibility, and emotional impact. This interview is part of our series that focuses on media artworks in public space. In this interview, Georgie Pinn explores the creative process behind Echo, an interactive work that has evolved across multiple public-facing iterations, from an intimate one-on-one booth experience to a large-scale outdoor presentation.

Georgie describes Echo as an "empathy engine." It is a guided encounter where a stranger’s story is experienced through a face transformation that gradually becomes your own. We discuss the changes when a deeply personal work is placed into public space. This includes designing for walk-up participation, making interaction intuitive across ages, and shaping narrative for unpredictable audiences.

Listen to this podcast to learn how to:

• Design interactive work for public space that supports multiple entry points and non-linear viewing.

• Create walk-up engagement so audiences understand what to do within seconds.

• Prototype with unfamiliar participants to refine UI, affordances, and accessibility across ages.

• Build for touring, with portability and repeatable installation and operation.

Chapters

(00:00:00) Introduction

(00:00:47) Public space origins

(00:02:40) Echo empathy booth

(00:04:47) Residency spark

(00:06:44) Education role

(00:07:35) Stories and archive

(00:09:53) Consent and ethics

(00:11:52) Breaking echo chambers

(00:14:16) New iterations ahead

(00:16:26) Prototyping process

(00:18:50) Collaboration roles

(00:20:53) Creative collective

(00:22:26) Current projects

(00:23:55) Advice for artists

(00:26:54) Closing

About Georgie Pinn

Georgie Pinn is an interactive creative technologist who makes large-scale multi-sensory experiences using projection mapping and interactive, generative, and sound-responsive animation. She has over two decades of experience across public art, festivals, cultural institutions, AR and VR experiences, music videos, and stage-based work. Her practice is informed by an ongoing interest in how immersive technology and intimate storytelling can elicit empathy and connection. Her artwork has been presented internationally, including venues such as the Barbican in London, Drive in Berlin, the Powerhouse in Sydney, and Lusail in Qatar.

Links from the podcast

• Learn more aboutEcho
• Visit Georgie Pinn’s website
• Follow Georgie Pinn onInstagram
• Learn more aboutArs Electronica
• Learn more about the World Science Festival

In this conversation, we hear how Betty Sargeant develops site-led installations through listening, prototyping, and stakeholder collaboration. We also discuss why delivery skills matter as much as ideas when working in public space. This interview is part of our series that focuses on media artworks in public space.

Betty shares the creative process behind The Fauxrest and what it takes to make media art that can survive real-world conditions, including weather, public interpretation, and the layered expectations of councils, communities, and collaborators.

AI sits in the background of this conversation as a conceptual provocation. Betty explains her “AI robot” persona, and how the claim of an “AI-created” installation sparked rumour, backlash, and debate. Those reactions provide a way into bigger questions about trust, authorship, and agency in public space.

Listen to this podcast to learn about:

• How listening builds trust and reduces friction in public space projects

• Prototyping site-led work through fast sketches, rough models, and material tests

• Why visual mock-ups are essential for keeping stakeholders aligned over time
• How participation shifts when audiences have not opted in

• What it takes to take a public artwork from idea to install, and why project management protects your agency

Chapter

(00:00:00) Finding the site first

(00:00:29) Podcast intro and acknowledgement

(00:01:02) Meet Dr. Betty Sargeant

(00:01:52) Inside the Fauxrest artwork

(00:02:38) Why public art matters

(00:04:19) The AI robot provocation

(00:06:04) Public reactions and town halls

(00:09:38) Fauxrest and Satire

(00:10:33) Performing Betty Sargeant AI

(00:12:22) Backlash and misunderstandings

(00:16:52) Collaboration and stakeholders

(00:20:33) Prototyping and models

(00:26:11) Visual communication for projects

(00:27:24) Three career essentials

(00:28:23) Why project management matters

(00:29:51) Wrap up and thanks

About Betty Sargeant

Betty Sargeant is a Melbourne-based media artist and researcher and co-creative director of the art-technology duo PluginHUMAN with Justin Dwyer. Her practice spans public art and immersive installation, using light, moving image, sound, and sculptural form to place audiences inside multi-sensory experiences. She has received Good Design Awards in 2018 and 2020, and a Victorian Premier’s Design Award in 2017. Her recent project, Betty Sargeant AI, uses satire and performance to question authorship, agency, and the stories we tell about automation.

Links from the podcast with Betty Sargeant

• Visit Betty Sargeant’s website

• Follow Betty Sargeant on Instagram
• Learn more about The Fauxrest
• Learn more about Betty Sargeant AI
• Learn more about PluginHUMAN

In this podcast you will learn how sound-led public artworks can turn everyday places into shared, playable environments. In this interview Michael Baker is the Sound Director at Daily tous les jours we explore some of the thinking behind Daily Tous Les Jours’ public artworks. Daily tous les jours is known for large-scale participatory works such as Musical Swings, as well as their book Strangers Need Strange Moments Together, which reflects on designing interaction in public space. This interview is the first in a series that focuses on media art works in public space.

Listen to this podcast to learn about:

• Why music acts as “social glue” in public space and how it supports relationality

• How the Musical Swings series of works map movement and synchrony into musical structure

• Designing interactions that are legible without instructions

• Low-tech prototyping methods (before code) that test the real experience

• The differences between touring works and permanent outdoor installations

• Common failure points in public work: weather, wear, and mechanical/electronic overlap

• Why the “artwork” is ultimately the people using the piece, together

Chapters

(00:00:00) Finding the hidden rhythm: sound between chaos & musical order

(00:00:24) Welcome + acknowledgement of country

(00:00:48) Series kickoff: Media art in public spaces (meet Daily tous les jours)

(00:01:40) Michael Baker’s role: Why audio is the perfect public-space interface

(00:02:44) “Make sure it makes music”: Music as social glue & pre‑verbal play

(00:05:24) Accidental encounters: The magic of unexpected public art

(00:06:22) Case study: Musical swings—wonder, all ages, all walks of life

(00:07:38) Sync & sway: How the swings create emergent harmony (tech + behavior)

(00:09:56) From mirror neurons to intimacy: Why we copy each other

(00:10:41) Interactive pavement: Grid rhythms, emergent rules & dancing together

(00:11:48) No instructions needed: Designing clear, simple gestures

(00:13:45) Prototyping at scale: Iteration, tape-on-the-ground tests & deadlines

(00:16:13) Tweak vs deliver: Working with clients, museums & touring constraints

(00:17:51) Testing with fresh eyes: First-time users as the real benchmark

(00:19:25) Temporary vs permanent: Durability, public “hacks,” and extreme weather

(00:21:41) Platforms & toolchains: MAX/MSP, TouchDesigner, and choosing what fits

(00:23:50) What public media art really is: The artwork is the people

(00:25:29) Wrap-up, thanks, and share the show

About Daily tous les jours

Daily tous les jours is a Montreal-based art and design studio that creates interactive installations in public spaces. Founded in 2010 by Mouna Andraos and Melissa Mongiat, the studio is known for large-scale participatory works such as Musical Swings. Their projects use technology, music and movement to bring strangers together and transform everyday urban spaces into sites of collective experience.

About Michael Baker

Michael Baker is the Sound Director at Daily tous les jours, where he oversees the sonic landscape of the studio’s interactive installations. In his role, he develops sound palettes, generative compositional systems, and integrated audio environments that respond to movement and collective behaviour in public space.

Michael holds a Bachelor of Fine Arts in electroacoustics from Concordia University. An accomplished electroacoustic composer, his work has been presented at international festivals including the 60x60 Festival (Canada/US), the Livewire Festival (Maryland), and the Canadian Electroacoustic Community Symposium (Montreal).

Links from the podcast:

• Learn more about Daily Tous Les Jours
• Learn more about 21 Balançoires (musical swings)
• Read Strangers Need Strange Moments Together

In this podcast you will learn how media artists stay with uncertainty, make deliberate choices with technology, and build work through collaboration—with people, place, ecology, and time.

This is a 2025 compilation episode, bringing together the advice I ask for at the end of every conversation on Creating New Spaces. Across the year, artists returned to a few shared concerns: how to keep going when meaning arrives slowly, how to test and refine work without being led by the tools, and how installation practice is shaped by teams, trust, and the systems around us.

Listen to this podcast to learn about:

• How to stay with the work when it’s unclear, slow, or shifting

• How to make with machines through testing, revision, and refinement

• How media work becomes shared — through collaboration, community, and ecology

Guests featured

Johan F Karlsson, Ariana Gerstein, Monteith Mccollum, Matt Warren, Rita Eperjesi, Georgie Friedman, Matthew Ragan, Troy Merritt, Darryl Rogers, Alex Moss, Maggie Jeffries, and Keith Armstrong

Chapters

(00:00:00) Intro: staying, making, connecting

(00:00:52) Staying with the work: pace, patience, resilience (Johan, Ariana, Matt, Rita)

(00:05:51) Making with machines: testing, tools, refinement (Georgie Friedman, Matthew, Troy)

(00:09:34) Making with others: teams, shared practice, impact (Darryl Rogers, Alex and Maggie, Keith)

(00:14:17) Closing

Links from the podcast

Guests

• Johan F Karlsson— website
• Ariana Gerstein — website
• Matt Warren— website
• Rita Eperjesi — website
• Georgie Friedman — website
• Matthew Ragan — website
• Troy Merritt / Soma Lumia — website
• Darryl Rogers — website
• Alex Moss — website
• Maggie Jeffries — website
• Keith Armstrong — website

Projects and organisations mentioned

• The Weather at Midnight
• Moonah Arts Centre
• Dissolution
• Lacuna

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:

• The role of experimentation, trust, and structure in cross-disciplinary collaboration, and how shared workshops shaped Alex and Maggie’s evolving process.
• How data, audience presence, and live performance intertwined during the exhibition.
• What “slow noticing” reveals about time, attention, and the perception of creative work.

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.

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. 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

• Visit Moonah Arts Centre
• Explore Moonah Arts Centre’s exhibition page for The weather at midnight
• Visit Alex Moss’ website
• Follow Alex Moss on Instagram
• Learn more about Maggie May Jeffries at Despard Gallery
• Follow Maggie May Jeffries on Instagram

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:

• Why curiosity and patience matter more than technical skill in creative coding

• What Matthew Ragan’s circus training revealed about working with technology as a collaborator rather than an obstacle.

• Why “slow coding” offers a sustainable counterbalance to the culture of instant results.

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

• Visit Matthew Ragan’s website
• Explore Matthew Ragan’s teaching resources
• Visit SudoMagic, the studio he co-founded
• Follow Matthew Ragan on Instagram
• See Matthew Ragan’s GitHub projects
• Discover TouchDesigner, the platform central to his teaching and creative coding practice
• Learn more about Python, a core scripting language in his work
• Watch Matthew’s masterclass for Interactive & Immersive HQ: How to approach building a real project on YouTube

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:

• Why physical prototyping is essential for immersive media work

• Creating installations that incorporate live water

• How projection mapping changes when your surfaces sway, drip and shift

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

• Visit Georgie Friedman’s website
• Follow Georgie on Instagram
• Learn more about Dissolution
• Visit Gallery A2

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:

• How the concept of ma guided a process of waiting, noticing, and responding
• How intuition and site-specific observation replace fixed planning in creative workflows
• How time becomes both material and subject in durational video installation

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 Johan F. Karlsson’s website

•

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:

• Creating artworks that support environmental recovery by providing habitat and enhancing ecological systems.

• Using analogue materials—like logs, soil, and fungi—together with digital tools such as LIDAR and acoustic sensors to interact with a living site.

• Why long-term, site-specific engagement matters—and how repeated visits shape an artist’s way of observing and responding to place.

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:

• VisitKeith Armstrong’s website
• FollowKeith Armstrong on Instagram
• Learn more aboutForest Art Intelligence
• Learn more aboutAnalog Intelligence at ISEA 2024
• Visit the Samford Ecological Research Facility (SERF) website and the Terrestrial Ecosystem Research Network (TERN) website
• Learn more aboutAustralian Network for Art and Technology (ANAT)

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:

• The iterative process behind Lacunae and why each version is a new creative experiment.

• The role of collaboration in how Soma Lumia works.

• The transition from Kinect sensors to webcams and how this offered different creative possibilities.

Chapters

(00:00:00) Introduction and acknowledgements

(00:01:32) Meet the artists: Darryl and Troy

(00:02:56) Exploring the concept of Lacunae

(00:04:01) Development and evolution of Lacunae

(00:09:12) Audience interaction and feedback

(00:10:33) Technical challenges and solutions

(00:18:11) Collaborative process and team dynamics

(00:21:24) Reflections and advice for artists

(00:25:59) 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.

• Darryl Rogers is a media artist working with video, installation, and immersive platforms to explore perception and spatial transformation.

• Troy Merritt is a creative technologist with over two decades of experience in media systems, interactivity, and augmented environments.

• James Riggall is an entrepreneur and educator working at the intersection of immersive technology, storytelling, and digital experience design.

Links from the podcast:

• Learn more about Lacunae on Soma Lumia’s website
• Learn more about Mona Foma
• Follow Soma Lumia on Instagram

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:

• Adapting media art for outdoor and public space

• Overcoming challenges of weather when working outdoors

• Bridging documentary storytelling with the emotional power of installation art

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:

• Learn more about What we bring
• Visit Ariana Gerstein’s website
• Follow Ariana Gerstein on Instagram
• Visit Monteith Mccollum’s website
• Learn more about Isadora
• Read Robin’s reflection on this conversation – Feeling vs thinking: How art and documentary shape experiences differently

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:

• How analog tools can enhance memory and engagement in coding education.
• The importance of algorithmic thinking before diving into syntax
• Overcoming common challenges in learning to code, including error messages and isolation.

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

• Visit Rita Eperjesiwebsite
• Follow Rita Eperjesi onInstagram
• Learn more about Rita’s approach to learning creative coding with DECODE: A Friendly Introduction to Creative Coding through Analog Techniques
• Join Rita Eperjesi in one of her courses at the School of Machines, Making & Make-Believe, where she teaches using her DECODE method.

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:

• How Matt reimagines ancient rituals using modern tools to craft reflective installations.

• The impact of soundscapes and mood on immersive art experiences.

• The benefits of using flexible spaces like ARIs to refine and experiment with new ideas.

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

• Visit Matt Warren’s website
• Follow Matt on Instagram
• Visit Sawtooth AIR website
• Follow Sawtooth on ⁠Instagram
• Read Robin’s reflection on this conversation – Rethinking artist’s statements as journeys

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:

• How Yizhen uses an iterative process to test and refine materials for these immersive installations.
• The challenges of blending digital projections with physical elements to evoke fluidity and wholeness.
• Yizhen’s insights into creating art that connects natural themes with personal and cultural narratives

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.

Read Robin’s reflection on this conversation - Rethinking media art processes: from digital tools to physical prototyping

Links from the podcast

• Follow Yizhen Li on Instagram
• Explore Gray AreaGray Area
• Visit Southeast of Rain’s websitehttps://www.southeastofrain.com/

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:

• How Nigel translated scientific data into a range of sensory art forms, from 3D-printed sculptures to soundscapes.

• The unique challenges and insights of working in art-science collaboration.

• The role of art in making scientific data accessible and helping audiences engage emotionally with environmental issues.

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

• Visit Nigel Helyer’s website
• Discover more about BioSphere|DataSphere
• Learn more about the Tasman Fracture Marine Park Research Project
• Read about the Institute for Marine and Antarctic Studies (IMAS) in Hobart

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:

• The conceptual development of Cosmos: All That is Ordered and its use of sacred geometry to blend science with spirituality.

• The influence of Pythagorean cosmology in Bego's work and how she uses it to explore the harmony between chaos and order.

• Why Bego decided to develop her work as an ongoing series of installations.

• How Bego approaches the challenges of working with liquid screens and achieving a holographic effect.

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

• Visit Bego M. Santiago's website
• Follow Bego M. Santiago on Instagram
• Watch COSMOS: All That is Ordered
• Explore FOLLOW THE PATH
• Learn more about MATHEMATICS OF GOD