My approach to video-design for theatre and dance is focused on the integration of set, props and ‘screen’ with lighting, video and playback systems. In particular, challenging and re-inventing what constitutes “the screen” is of primary importance to my video designs. Combining inventive use of projection techniques with 3D animation, location and studio footage creates environments that performers do not just stand in front of, but can actually inhabit.

This includes creating 3D animations of ‘real’ props that can be exchanged between the physical and virtual aspects of the set (One Night In The Well, 2003); and the use of multiple projection surfaces, distributed playback systems, moving screens, simultaneous rear and front projection surfaces and scrims to produce the optical layering of images (Ray of Glass Needles, 2006; Love Monkey, 2008, Zombie State 2008).

Recently I have been developing real-time video systems for producing registered video in which projections can be positioned exactly onto the surfaces of actors and objects, and telematic silhoutte projections where actors and dancers can perform in local and remote areas, whilst being projected onto stage surfaces (Ascension Hour, 2008).