Creating New Spaces: Interviews with artists redefining spaces through technology – Details, episodes & analysis

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

Seph Li discusses the generative installation called "Phase". The piece combines interaction and computational logic to create a unique and immersive experience for participants. Seph merges algorithms from the Wolfram Physics Project with traditional Chinese ink painting simulations, creating an interactive universe where visitors' actions influence the artwork's evolution. Some of the other things discussed include a simple taxonomy of different types of interactions, coding, and what Seph is currently working on.

Highlights

(0:02:14) Experience of the interactive piece "Phase'" and its abstractness

(0:04:13) The tension between providing instructions and allowing discovery in interactive installations

(0:07:41) The collapse of the universe in the piece and its significance

(0:09:44) The conceptual idea behind the piece and its connection to Daoism

(0:12:29) The use of ink painting in the artwork 

(0:14:01) The importance of preserving poetic qualities in digital renderings

(0:17:02) Robin asks about the influence of computer science on Seph’s art

(0:20:30) Seph prefers working with bespoke code rather than tools like TouchDesigner

(0:23:03) Robin asks about the process of making the artwork "Phase"

(0:26:28) Seph discusses the challenges of fabricating the physical controller

(0:28:16) Seph shares his current project involving artificial life and ink painting

(0:30:43) Seph envisions an intimate gallery experience for his new piece

About Seph Li

Seph Li, originally from Beijing and now based in London, has a bachelor's degree in Computer Science and Entertainment Design from Tsinghua University, and an M.F.A. from UCLA. His work has gained international recognition, with exhibitions across Japan, the U.S., Spain, Brazil, and more. He has worked with Tokyo's renowned teamLab and received commissions from global brands such as Google. His achievements include a Jury Selection in the Entertainment Division at the Japan Media Arts Festival 2012, and a nomination for the prestigious 2023 3D/Interactive Award.  

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

Links from the podcast  

• Watch a video of Phase
• Explore the web version of Phase
• Visit Seph Li’s website    
• Follow Seph Li on Instagram   
• Read an interview with Seph L on Al-Tiba9 
• Read an interview with Seph Li on Art Connect 

Asaco and Toyoshi Morioka of SPEKTRA discuss the creation of 'Vectorize(Prototype)' an audiovisual installation prototype in a performing arts theatre. SPEKTRA, based in Kyoto, is a group known for its experimental and expressive work. Their primary focus is on installations involving lights and audio. 'Vectorize(Prototype)' represents a shift, using flat beam lights in a performance context rather than as an installation. The interview explores Speckra’s approach to prototyping, which includes 3D modelling and simulations in TouchDesigner. Additionally, the collective’s dynamic team structure and other themes are explored. Highlights

(0:00:00) Creating something we’re interested in

(0:00:00) Introduction to the podcast and the interviewees

(0:01:19) Description of the artwork “Vectorize(Prototype)”

(0:01:51) Discussion on Spectra’s shift from installation work to

performance

(0:03:00) Experimentation and new techniques in “Vectorize(Prototype)”

(0:04:00) Challenges of working with a wide space and lights

(0:05:31) Inspiration for “Vectorize(Prototype)” came from a new device

(0:07:05) Use of 3D simulations in planning the piece

(0:09:22) Simulation and modelling now used in most of their works

(0:12:13) Learning to create performance works was a challenge

(0:13:56) Current projects involve mirror installations and merchandise

(0:16:36) Collaboration involves specific skills rather than specific roles

(0:17:16) Advice for working with light installations

(0:17:57) Three points: creating something we’re interested in, site specificity, new techniques

(0:19:50) Importance of being interested in new ideas and techniques

(0:20:18) Collaborative approach to creating artwork

(0:21:15) Collecting ideas from members and valuing persona experiences

About Spektra Studio 

SPEKTRA is a Kyoto-based group that engages in experimentation and expression.

Members change dynamically according to projects and venues as they search for new ways to describe ideas. 

Links from the podcast

• Watch the videos of Vectorize(Prototype) 
• Visit the SPEKTRA website    
• Follow SPEKTRA on Instagram 
• Follow asaco on Instagram 
• Follow Toyoshi Morioka on Instagram        

Harvey Moon from Spectra Studio discusses creating 'Zephyr,' an interactive origami object that responds to visitors' breath and movement. Spectra Studio is a multidisciplinary collective based in Los Angeles. They create multi-sensory experiences meant to be shared. They work on experimental projects like 'Zephyr' and also provide services to clients. In the interview, we explore the Spectra Studio process and uncover some insightful reflections on how they might have approached prototyping differently in this project. We examine the nature of the interactions in the piece and how they contribute to shared experiences for the viewers. We also discuss the difference between Harvey's solo work and the collaborative work at Spectra Studio.

Highlights

(0:00:00) Dialogue with the audience vs. one-to-one interaction

(0:01:40) Description of Zephyr

(0:03:30) Connection between breath, reflection, and natural rhythms

(0:05:32) Sensing breath and CO2 levels

(0:06:07) Meditative response from visitors

(0:07:45) Consideration of sound in future prototypes

(0:08:38) Origami and breath as inspiration for Zephyr

(0:10:30) Focus on physical, kinetic, and sculptural experiences

(0:11:53) More unfinished projects than finished ones

(0:12:59) Challenges of scaling up and iterating the design

(0:13:38) Description of Spectra Studio and its collaborative process

(0:15:27) Balancing commercial work with artistic and creative work

(0:16:41) Everyone in the team wears multiple hats

(0:18:24) Working alone vs working collaboratively

(0:19:42) Lessons learned from the Zephyr project

(0:20:21) Balancing project complexity and constraints

(0:21:47) Current projects: travelling exhibit, projection dome, kinetic works

(0:22:20) Advice for those interested in kinetic work

About Harvey Moon

Harvey Moon is a new media artist who explores the intersection of technology and perception. He creates custom software, electronics, and kinetic systems to extend our understanding of the world and how technology influences our lives. Moon's art challenges audiences to question their perceptions and reflect on the role of technology in shaping our future.

Harvey Moon holds an MFA from DMA at UCLA and a BFA from the School of the Art Institute of Chicago. His work has been showcased internationally, including exhibitions at the National Taiwan Museum of Fine Arts and the Nuit Blanche Festival in Toronto. Currently, he resides and works in Los Angeles, California.

About Spectra Studio

Spectra Studio is a multidisciplinary collective based in Los Angeles, California. Spectra Studio combines art with the possibilities of technology to transform ideas into tangible, multisensory experiences meant for sharing. Experimental by nature, their practice is fueled by research, collaboration, and discovery. Spectra Studio's goal is to evoke emotions, express the inexplicable, and reflect on how we relate to the physical, the digital, and the

Links from the podcast  

• Learn more about ⁠Zephyr⁠
• Visit the ⁠Spectra Studio’⁠s website 
• Follow ⁠Spectra Studio⁠ on Instagram 
• Visit ⁠Harvey Moon’s⁠ website   
• Follow ⁠Harvey Moon⁠ on Instagram 
• Follow ⁠Dave Hull⁠ on Instagram
• Read Robin's reflection on this conversation -Responding the ‘weather of a space’

In this interview, Nora Gibson discusses her interactive installation called 'the dream'. Participants in 'the dream' wear EEG headsets to animate a particle system that is projected onto translucent screens in a room bathed in pale blue light. Nora’s background is in contemporary ballet and choreography. During the conversation some of the topics that are explored are interactive works as a way of  providing feedback to participants,  the interconnectedness between audience members, as well as how interactive works are systems for people to experience. 'the dream' has recently been featured in Ars Electronica.  

Highlights

(0:00:00) Choreography vs interactive installations

(0:02:20) Description of ‘the dream’ installation

(0:06:25) Audience response to ‘the dream’

(0:08:29) Core ideas explored in the piece

(0:11:00) Personal reflection and enrichment in creating the installation

(0:14:03) Art as a tool for learning and growth

(0:15:00) Transition from ballet to installation practice

(0:17:49) Using participants' bodies in the installation

(0:18:07) Shifting focus from the performer to the experience

(0:18:49) Redefining virtuosity in coding and conveying messages effectively

(0:20:32) Process of creating ‘the dream’ piece and experimenting with visuals

(0:22:25) Using organic and natural visuals in the piece

(0:23:58) Embracing recycled ideas and having a unique message

(0:24:37) Differences between creating an interactive installation and choreographing

(0:27:30) Finding freedom and a different perspective through interactive work

(0:27:33) Augmenting the experience with sound and live experimentation

(0:30:19) Advice for others: Use tools to communicate your message effectively

About Nora Gibson  

Nora Gibson trained in ballet at the Baltimore School for the Arts, where she studied under renowned mentors including Sylvester Campbell of the DutchNational Ballet. Nora further honed her skills at Chautauqua and NCSA, and earned a BFA from Tisch at NYU. She has danced for multiple companies including the Ellicott City Ballet Guild, PATH Dance Company, ClancyWorks Dance, and Andrew Marcus Dance, and has collaborated with iconic choreographer Lucinda Childs. 

Fora decade, Nora led the Nora Gibson Contemporary Ballet, a Philadelphia-basedcontemporary ballet company. She gained critical acclaim and presented her workat prestigious venues such as the Franklin Institute. This included discussingher groundbreaking dome ballet, MANDALA, at the TouchDesigner summit at MUTEK in Montreal in 2018.

Asan educator, Nora has designed courses that range from ballet to digital art,and has taught at institutions such as Temple University and the University ofthe Arts. She received the Outstanding Teaching Award in 2018 for her work atTemple University. 

Norahas transitioned from choreography to digital practice. Her digital creationshave been featured at international platforms such as Ars Electronica and the Hexagram Network,  Online Global Gallery, Contemporary & Digital ArtFair, Lightbox, and Urban Screens Production.    

Links from the podcast

• Learn more about 'the dream'
• Follow Nora Gibson on Instagram
• Visit Nora Gibson website

In this interview, Christian Skjødt Hasselstrøm is talking about the creation of a site-specific installation called The Receiver. His works explore our sensory perception and the limitations of our senses. His pieces are often site-specific.

Highlights 

(0:00:00) Prototyping site-specific work 

(0:00:51 ) Description of the "The Receiver" installation and its sensory experience 

(0:03:12)  How the space for the installation was chosen 

(0:06:25)  The process of levelling up and down the frequencies in the silo 

(0:07:08)  Collaboration with Bang Olufsen

(0:09:18)  Challenges of planning and prototyping the installation 

(0:11:48) The messy process of refining the concept and technology 

(0:15:55)  Overcoming safety and logistical challenges 

(0:18:21) Advice for working with site-specific art 

About Christian Skjødt Hasselstrøm

Christian Skjødt Hasselstrøn is an artist and composer from Copenhagen. Christian has presented his works at galleries, museums, festivals, and concert spaces throughout the world, including Ars Electronica Festival in Linz, Mois Multi in Quebec Canada, A plus A Gallery in Venice, Műcsarnok Kunsthalle Budapest, Sound Reasons in New Delhi, Skan II / Skanu Mežs in Riga, Üle Heli in Tallinn, Ostrava Days in Czech Republic, Ultima in Oslo, Overgaden - Institute of Contemporary Art in Copenhagen and Museum of Contemporary Art Denmark.  

Christian’s work has been awarded by Prix Ars Electronica, Japan Media Arts Festival, Edigma Semibreve and Carl Nielsen and Anne Marie Carl-Nielsen’s Foundation, and he holds a Master's degree from the Royal Academy of Music in Denmark.  

Links from the podcast  

• Learn more about The Receiver
• Visit Christian Skjødt Hasselstrøn’s website
• Learn more about Struer Tracks – Biennial for Sound and Listening

In this interview Louise Devenish and Stuart James are talking about making 'Alluvial Gold,’ which exists both as an art installation and as a concert performance. It’s created by Louise Devenish and percussionist, visual artist Erin Coates and composer Stuart James. Erin was not available to join in the conversation. The interview explores collaboration and the challenges of remote collaboration.  

Highlights 

(0:00:00) Making creative collaboration work 

(0:02:01) Explanation of Alluvial Gold and its themes

(0:05:52) Integration of themes into the sound and visuals

(0:09:46) The collaborative process and challenges of remote collaboration

(0:12:56) Physicality and spatial aspects of the performance

(0:19:25) Challenges faced during the project

(0:23:50) Playing the space as a percussionist

(0:28:27) Advice for creatives embarking on a similar journey

About Erin Coates

Erin Coates is a visual artist and creative producer based in Perth, Australia. Her work, spanning drawing, sculpture and film, explores the limits of the human body in various environments, influenced by her background in rock climbing and freediving. Erin’s recent work presents hybrid forms merging human elements with Australia's unique marine and estuarine life forms, speculating on potential post-human futures. Her work has been displayed in galleries and film festivals, both locally and internationally, including the 23rd Biennale of Sydney, the Adelaide Biennial, the Hiroshima Museum of Contemporary Art , and The National: New Australian Art. Erin is represented by Moore Contemporary; she holds a masters in fine arts from the University of British Columbia, Vancouver, Canada​. 

Visit Erin’s website

About Louise Devenish

Louise Devenish is a percussionist based in Australia. Her creative work merges performance, artistic research and collaborative interactions. Louise is a champion of new music; she has commissioned over 50 works for percussion and has performed extensively in ensembles like Decibel and The Sound Collectors Lab. Currently, she is a senior research fellow undertaking an Australian Research Council Discovery Early Career Researcher Award (DECRA) fellowship at Monash University, where she also directs The Sound Collectors Lab and serves as percussion coordinator. Louise’s performances, recognised for their virtuosity, are featured on international labels such as HatArt and Immediata. She has been honoured with a Churchill fellowship and multiple APRA AMCOS Art Music Awards, and holds a doctorate in music.  

Visit Louise’s website

About Stuart James 

Stuart James is a composer, sound artist, and producer based in Australia. He is a founding member of the Decibel New Music ensemble, and a lecturer in the Composition and Music Technology Program at the Western Australian Academy of Performing Arts. Stuart’s interests include spatial audio, spectral synthesis, and wave terrain synthesis. His recent work, supported by an Edith Cowan research grant, explores the potential uses of 3D sound to aid human navigation and the opportunities that emerging technologies present for exploring virtual environments​​. Stuart completed his doctoral research in the field of music technology. 

Visit Stuart’s website  

Links from the podcast

•  Learn more about Alluvial Gold
• Watch a recording of Alluvial Gold
• Read Louise’s article on Instrumental infrastructure, instrumental sculpture and instrumental scores: a post-instrumental practice

In this interview Michael Sedbon is talking about the making of Cryptographic Beings installation. The conversation explores the difference between working with biology and engineered digital technology, prototyping and learning. 

Highlights

(0:00:00) The control you have over biology

(0:01:08) Introduction to the Crypto Being installation

(0:02:51) The slow movement of the algae in the installation

(0:04:35) The idea for the piece and the behaviour of the algae

(0:06:23) Michael shifting perceptions through studying life science

(0:08:26) The process of creating the installation

(0:11:59) The challenges of working with living organisms

(0:14:51) The prototype nature of the installation

(0:16:26) Comparing commercial design work to artistic work

(0:19:21) Getting started in living computation or computation

About Michael Sedbon

Michael Sedbon is a Paris-based artist, and life science researcher. Michael’s work investigates the convergence of digital technologies with non-human intelligence, exploring the impact on societies and environments. He constructs bio-computers, investigating the interface between biology and computer science. Michael has received notable recognition, including the Bio Arts and Design Award, the Falling Walls Art and Science Breakthrough, and was shortlisted for the Lumen Prize​. His work has been exhibited globally, and he has participated in esteemed residencies​​. Michael holds a masters in interaction design and is studying synthetic and system biology​​.

Links from the podcast

• Learn more about Cryptographic
• Visit Michael Sedbon’s website
• Connect with Michael Sedbon on Instagram

In this interview Daniele Hopkins and Kyle Duffield are talking about the making of a physical game called Schwister. The conversation explores the cross over between branding work  and experimental work, constraints and prototyping. 

Chapters

(0:00:00) Play testing

(0:01:21) Introduction to the game Schwister and its experience for players.

(0:02:24) The idea for Schwister came from a commission for Absolut Vodka.

(0:04:02)The process of exploring ideas and tinkering with the game.

(0:05:49) The collaboration process and the use of iPad prototypes.

(0:08:09) Building a prototype on the iPad using Max MSP and Mira.

(0:09:45) Streamlining the technical solution for efficiency and portability.

(0:11:51) Observing how people interact with the game and learning from it.

(0:14:00) Adjusting sensitivity and logistics for smoother presentations.

Kyle Duffield

Kyle Duffield is a Toronto-based interactive experience design professional who creates immersive interactive installations and brand activations. Kyle’s expertise spans audio, video, creative coding, electronics, and interaction design with the intent of bringing play and multi-sensory spectacle to public spaces. As an educator, Kyle has facilitated interactive media courses and workshops with various institutions, galleries, and universities across North America, the UK, Shanghai and online. Currently, Kyle is a Cycling '74 Max Certified Trainer, and is focusing on creating unforgettable technological experiences.

Daniele Hopkins

Daniele Hopkins is a Toronto-based intermedia artist and the Executive Director of Electric Perfume, an experiential arts hub. She curates showcases, facilitates learning opportunities, and develops interactive projects for various events and clients. Her work explores intersections of nature, technology, sound, and interactivity. Daniele is passionate about teaching and mentorship and has served on the board of directors for Musicworks Magazine, The Hand-Eye Society, and Gallery X Scarborough.

About Electric Perfume

Electric Perfume artists, Daniele Hopkins and Kyle Duffield, have worked together for over a decade making immersive projects in a variety of mediums. Through Electric Perfume, they create and curate multisensory interactive social experiences in the form of events, activations, public art, gamified solutions, technical consultancy, and workshops. Electric Perfume has functioned as a creative studio and gallery space located in Toronto, curating over 150 public events consisting of exhibitions, festivals, performances, screenings, workshops, socials, and meetups. Hopkins and Duffield are always excited to be taking on new challenges, learning and merging new technologies, and love creating and showcasing alongside cool new friends!

Links from the podcast