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Go2 at INSTINT 2017

At Go2, we’re constantly experimenting in our studio to come up with new and creative ways of using technology for our projection mapping and immersive projects. So it was with much excitement that Adrian and Patrick, our Executive Creative Director and Developer/Designer respectively, packed their bags and headed out to New Orleans for INSTINT 2017. And it was amazing.

INSTINT is a three-day gathering focusing on the art of interactivity of objects, environments and experiences. Obviously, our team felt right at home here. The convention featured an A-list roster of top professionals who are creating and experimenting in that fascinating space at the intersection of art and technology. The guys came back extremely inspired by all the talks and the people they met, brimming with new ideas they can’t wait to execute on.

Here are some of the lessons/takeaways they brought back:

  1. Machine learning can function as a tool that aids artists, musicians and creators to achieve their own aims

In her talk titled ‘Creative Interactions with Machine Learning’, Dr Rebecca Fiebrink talked about her research to find new ways for humans to interact with computers in a creative practice. Fiebrink is the developer of the Wekinator software for interactive machine learning. She built this several years ago with just a basic webcam and a simple drum machine. Fiebrink had them set up so that if a song was playing a certain way, she could give it an example in the webcam of a certain pose and she did this till she had thousands of examples. Within 4-5 minutes she was able to play a whole song just by performing different physical movements like hand gestures.

During the workshop, everyone got to build their own direct interactions and using lead motion some developers built a machine to play Rock-Paper-Scissors with. Depending on what you played next, it would learn the way that you were playing Rock-Paper-Scissors, and the game would slowly get harder. The machine was also sensing within a split second whether you were going to throw out Rock or Paper or Scissors. The implications for gesture recognition, and creating new interfaces for people to interact with the things that we create, has taken a gigantic leap. Machine learning can be pretty unnerving but very powerful and it will be interesting to see what you can do with these kinds of applications in the future.

  1. Unique interactions emerge when you create a space for open play

Emily Gobeille and Theodore Watson from Design I/O have been involved in the production of large-scale, immersive projections and interactions. Their most famous project is ‘Connected Worlds’ which took place in a large circular room, with projected content on all the walls. At the very back of the room, there’s a waterfall that looks like it’s pouring water on the floor, and you can re-route the water, using logs, that are like pillows on the floor, and then feed water to the different ecosystems that live along the edges of the wall.

Emily and Theodore talked about the power of play and to aid their research, many of these installations are put into museums, where kids can interact with them. They try to give as little instruction as possible to the children, and during the first 15 mins the children don’t really know what to do – it’s all experimental. But then they start manipulating the system, and start working with each other as teams to try and keep certain areas of the ecosystem healthy. Different kids take on different roles: some will plant seeds, others will water them, some will go around doing one job, some of them don’t do any jobs and they just manage the other children. It’s interesting to know that you don’t really need to hold people’s hands all the way through an experience like this, and that if you give them just a few clues on how it works, the process of discovery can lead to new types of interactions that you didn’t even design. Because the system is so complex it sometimes lets people use it in a way that you’ve never experienced before.

The second project they created involved producing high-res scans of a museum’s collection and creating video walls with them. You could stand in front of the wall and it sensed where you were and put a magnifying glass where you were standing. With the magnification, you could move around and look at different pieces in the collection. And the creators found, by accident, that if a bunch of people stood together, it would make a massive magnifying glass. So they found that people would be organically shuffling around together to get the biggest magnifying glass that was possible. These are the types of emerging interactions that come through creating a space for open play.

  1. Frozen data sets can produce beautiful, dynamic visuals

Refik Anadol is an LA-based artist who uses data sets from the city and government sites to create stunning visuals. He creates permanent projection mapping installations that have elements of interactivity in them. A lot of his installations are interactive in the way that they are interfacing with public information like government websites that monitor crime rate or sewer health for example. He takes spreadsheets of these numbers and creates something beautiful out of it that responds and reacts in real time. The interactions that he produces are a bit more abstract –  it’s not necessarily as simple as someone waving their hand in front of sensors – but it’s amazing what he’s able to do and create out of this data.

Refik has used interesting buildings as his canvas for colossal video projections that contort, merge and morph fantastically to an accompanying soundscape. One of his well-known projects was the stunning, immersive performance, titled “Visions of America: Amériques,” which took place inside the Walt Disney Concert Hall. The software behind the instalment was able to analyse sound and the conductor’s body movements, and convert that data into real-time graphics. This project was part of Anadol’s MFA thesis where he aimed to think of architecture as a canvas and light as a material.

All in all, it was an unforgettable experience – the INSTINT community is inclusive, welcoming and opened our eyes to a whole range of new topics. We’ve found ‘our people’ and we’ll be back next year!


The Go2 team – like you’ve never seen them before!

We’ve had a wonderful year and it’s because of you. And you, and you! *sprinkles joy*

We had a little Xmas fun in our studio recently, building an application that was triggered by keys on a keyboard to produce video clips of our team that were projection mapped onto a 3D model. We hope you enjoy it, and from our family to yours, we wish you a very MERRY XMAS and an ILLUMINATING NEW YEAR!

What’s On: Event Roundup

The best marketing, tech and design events and conferences in January and February 2017. Grab your tickets, quick.

Front, Jan 5-6, Park City, Utah
Front is the product conference for UX designers and product managers. Attendees come for an education, real world, from-the-trenches case studies, and hands-on training from their peers.

CES 2017, Jan 5-8, Las Vegas, NV
From mobile and wireless to virtual reality, video and digital content, you’ll hear stories, best practices and case studies in an intimate, casual atmosphere.

AdExchanger’s Industry Preview, Jan 18-19, New York, NY
The conference brings together top executives in marketing technology to network and discuss the trends and companies that will have the biggest impact in the year ahead.

Eventex 2017, Jan 24-26, Dublin, Ireland
If you are a meetings and events planner, designer, marketing, PR, communication, or hospitality professional, this is the conference for you!

Social Media Strategies Summit, Feb 7-9, San Fran, California
Learn from a mix of experienced in-house practitioners and award-winning agencies to get a 360° view on what it takes to execute a successful, revenue-driving social media strategy.

Big Data & Analytics Summit, Feb 13-14, Toronto, ON
Some of the most advanced leaders in their fields will offer a tangible plan to drive business success with big data and analytics.

Bash Conference, 15-17 Feb, Phoenix, AZ
BASH is full of amazing speakers and includes expert educational sessions on event planning, business and professional development and entrepreneurship.

Off Grid: An Experiential Journey, 16-21 Feb, Australia and New Zealand
Off Grid: An Experiential Journey is a unique design-driven way to experience New Zealand and will bring influencers engaged in experiential design to stimulate and provoke discussion.

How Video Became a Marketing Star

You’ve loaded your website with all kinds of fascinating information about your services or product. That’s great but it looks like you’ve forgotten that people have a seven-second attention span and your potential customer doesn’t have the time or inclination to read through long paragraphs of text. He/she is now thinking about watching cute animal videos instead. Yes, really.

Video isn’t just an important part of our digital experience; more and more, video is the internet. Today people are hungry for information, and they want it fast. They’d much rather spend 2-3 minutes watching a video than spending 15-20 minutes reading long paragraphs of text. By 2017, videos will account for 69% of all consumer internet traffic, according to Cisco.

If you’re thinking about having a video made for your business, and you definitely should, there are different types you can choose from. Explainer videos, like the one we produced for Envisio (above) and BCIT, are short and concise videos explaining what your company, its services or products do – in 1-2 minutes of highly visual storytelling. They work best when using animation, motion graphics or a whiteboard style. Explainer videos can be as simple as a step-by-step guide on how to use your website or you can use 3D animation to show users how a product or gadget really works like in our creative for FreshTech.

You can make use of corporate overview/culture videos to reinforce your brand identity, show a more fun or hidden side of your company or use as a recruitment tool. This video we produced for Mezzi (above), featuring their creative art director and exploring his inspirations and creative process, is a great example of how a corporate video can lift the veil on your business and allow customers to form a deeper connection with your brand.

Have great reviews from clients? There’s no better way to prove your company’s legitimacy than a testimonial video. Use this video on your website, in presentations and social media to really make full use of it. And, of course, TV or online commercials are extremely effective in communicating a new product or service, especially when you’ve targeted your audience properly.

The Why
Utilizing video in your content marketing plan will be great for your SEO. According to comScore, adding a video to your website can increase the chance of a front-page Google result by 53 times. Transcribing your video content into text on YouTube will also greatly improve your SEO as google will pick up on that text and make it a searchable element. The use of video in emails and newsletters has proven to result in a higher click-through rate.

Often customers are wary of purchasing products online. Adding influencer testimonials or filming a friendly face from the business will increase the level of trust that people have with respect to your brand.

According to comScore, more than half of users tend to visit the marketer’s website after watching their video and a significant proportion of these users ends up purchasing the product, which means that videos tend to lead to better conversions. Whichever stage of the customer funnel you are targeting, videos can help. Compelling copy is good, but when you bring text, speech, and graphics together, you get an unbeatable instrument to help you communicate your message clearly.

The How
A few quick and dirty video tips: Have a clear message and keep it short. The sweet spot for these videos tends to be around 60-90 seconds. Don’t forget to include a call to action at the end of the video – videos perform better if the user knows what to do after they’ve watched them so direct them to download information, ‘like’ a social media page or prompt them to buy your product. Feature the video in a highly visible spot. The video does little good to you if it’s hidden in between a lot of links. Put it at the top of your homepage, and place a large “play” button on a still from it.

Finally, quality matters so if you’ve never produced a corporate video before grabbing your camcorder and just winging it is a terrible idea. Scripting is all-important and is the backbone of any project and great visuals, a clean design, and good quality audio all makes a huge difference in whether users watch the video, and how they react to it and to your product.

We’ve produced umpteen corporate videos and each and every one of them have been extremely successful. We design your video to be shareable, the focus is on the story/script and we always create our videos to have a genuine sentiment. No matter what your budget or needs are, let us show you why video marketing is a more viable option than ever before. Contact us today and let’s make some video magic.

Façade Fest: Studio Sessions with Chris Shier

The unique aspect of Chris Shier’s artwork is that all of his graphics are generated in real time. Usually, when it comes to animation or graphics, these are pre-rendered in advance and then projected onto the building. Chris’ artwork is based around an HTML 5 canvas, which is web-based media. Our challenge was to figure out a solution that would help integrate his graphics generated from the web, and streamline them through the media server being used for the Façade presentation. Go2’s interactive designer had to figure out a proper frame rate and resolution to produce a consistent feed through to the media server.

Our team worked alongside Chris to ensure that once the textures were accurately piping through from the web into the media server system, that the resolution and the speed were acceptable by the artist. Our developer looked at different applications to find the one that would give the most consistency for this live feed and finally settled on the app, CamTwist.

We got Chris’ thoughts about his upcoming project for Façade.

Your existing body of work focuses on the very contemporary mediums of GIFs and interactive animation. What do you want our readers to know about these art forms in general, and your work with them specifically?
Chris: What I enjoy most about working on the web, and especially with interactive animation, is returning to the feeling of freedom that once existed online. You could create a place entirely as you saw fit – as ugly or beautiful or useful or useless as you’d like. We’ve traded that control for convenience with a side of corporate surveillance. Making interactive animation for me has been about carving back something for myself and hopefully being able to provide tools for users to feel free to play and create. And, since the source code for all the works is easily viewable and editable using tools already built into standard web browsers, anyone can iterate, modify, or remix as much as they’d like.

The GIF seems to be undergoing a redefinition by the main social media channels. Rather than the traditional (now possibly archaic) low colour-depth short animation loops, it is more often used to describe muted video files of indeterminate length. It’s a shame because the original GIF file format provides exact pixel and time precision over how an animation is rendered, while video compression discards as much detail as possible in pursuit of small file sizes resulting in muddy messes. So, what was originally an ideal tool for screen based animation has been drowned out by goofy reaction faces and pratfalls. It is probably too late, but the format deserves eulogizing.

What inspires you?
Chris: Learning new tools and techniques motivates me most consistently. Beyond that, watching planes at night through venetian blinds. Really, though, it’s the work of artists like Andrew Benson, Sara Ludy, Adam Ferris, Sabrina Ratté, Andrej Ujhazy, Ezra Miller, Vince McKelvie, Ricardo Cabello, Jules Welter, Tangible Interaction, Altered Qualia, and so on. For this project specifically, I have fond childhood memories of visiting Science World and the exhibit where a flash of light leaves a frozen shadow.

How does working in projection mapping fit into, and contrast with, the work you’ve done in coding and animation before?
Chris: I’ve been wanting to work with projection mapping for quite some time now. Façade provides an excellent chance to investigate the interaction between the user and the work beyond a web browser interface. Creating work for the web has been an asset, though, in that pieces must be adaptable to a wide variety of dimensions, hardware, and interaction modes (mouse, touchpad, touchscreen, webcam, head tracking, etc).

Describe your project for Façade. How did you come up with the idea, and what kind of effect are you hoping to have on the viewer?
Chris: It is a code-based work with an interactive and a non-interactive element. On the arch and columns a vibrant petri dish based on cellular automata simulated life will ooze and grow, while in the wings and recessed face of the VAG, live video of Robson Street and the audience will be churned through digital feedback effects and projected. I’m looking forward to people shadow-playing as they realize it’s their own forms and movements being represented on the VAG façade.

Were there any challenges in this process?
Chris: Integrating live web-based works into the projection mapping pipeline, especially when running two in parallel and using webcam input, was the main challenge. Much thanks to Patrick at Go2 for his hard work in that area. It has also been an interesting process adapting effects originally developed for the one-on-one experience of a webcam and laptop to the scale of half a city block.

What have you learned about your art through this process?
Chris: It has opened my eyes to some of the possibilities and opportunities available when interactive works are moved from the online space into the public urban space. I’d like to explore those ideas further.

What was it like working with Go2 to complete your vision?
Chris: It has been an extremely positive experience working with Go2. I knew going into the project that there would be technical hurdles to overcome and Go2 have been enthusiastic and adaptable partners in realizing the work.

How did you come to collaborate with the Burrard Arts Foundation?
Chris: Jeff Hamada of Booooooom was kind enough to put my name forward into the nomination process. I should also thank him for pushing me to incorporate interactivity into the Façade festival format.

Chris’ project will be displayed Saturday, September 3rd from 8pm to 12am on the Robson Street side of the Vancouver Art Gallery. Follow the Façade Fest online with #facadefest.

Text by Go2 Productions, Genevieve Michaels and Chris Shier

FAÇADE Fest: Studio Sessions with Renée Van Halm

Renée’s work is impressively varied, using painting, sculpture, and architecture as vehicles to create art that blends mediums to discuss artistic and cultural history. During her sessions with Go2, our team made sure the paintings and collages Renee picked had the right colors/saturation, orientation, and placement to work flawlessly with the Vancouver Art Gallery building. We also developed a simple transition between her artworks to create a bit of movement on the building.

We spoke with Renée about her inspiration and her work for the Façade Fest.

What would you like our readers to know about your existing body of work that might help them contextualize your upcoming project for Façade?
Renée: My work has always had a synthetic quality. By that, I mean synthesizing elements from different orders of things – architecture as sculpture or backgrounds with fields of colour. In this way, each aspect of the combination places its partner into question or informs it to come up with a different meaning. The viewer flips back and forth between one way of knowing and another. The Façade project is drawn from research into symmetry, different from my paintings but related in how the source materials have been processed – through collaging. The Façade project allows me to work with combinations of very intense colour not feasible when working with pigments.

What inspires you?
Renée: Pictures and what they mean.

How does working in projection mapping fit into, and contrast with, the work you’ve done before?
Renée: It is lucky that for the last year I have been working on a public art piece that has evolved into a large painted window. This has lead me to work with light and transparency, which has more in common with projected light than paintings on canvas do. Also, the scale and the artwork’s relationship to actual architecture is similar. As a result, the switch to projected light was quite seamless. Even the images I have used for Façade evolved from the research I have been doing over the past year.

What has the process been like? What have you learnt about your art through this process?
Renée: The timeline for production was short and the learning curve was steep. As an artist, I work with static images and don’t usually consider sequencing or transitions in my work so considering how one image moves into another was something that I had to learn.

Describe your project for Façade. How did you come up with the idea, and what kind of effect are you hoping to have on the viewer?
Renée: My project for Façade consists of a number of diverse images taken from magazines. They are mostly unrecognizable backgrounds and architectural elements but also images of nature that in new combinations take on different identities. The big coloured shapes often refer to redefined figures or subjects without actual identities.
I don’t usually work with symmetrical compositions, but I have wanted to work with these butterfly compositions for some time and given the symmetry of the VAG it seemed like a perfect fit. Symmetry inevitably reads in an anthropomorphic or zoomorphic way and, is therefore, comfortable for audiences to relate to.

What was it like working with Go2 to complete your vision?
Renée: Go2 productions have been not only very helpful but also inspiring. They made the process as straightforward as possible. With the exception of a couple of face-to-face meetings, a lot of the interaction took place electronically with helpful feedback and suggestions.

What do you think about the coupling of art and technology?
Renée: This has been a great opportunity to marry the two. The best part of this project is that it brings art out of the studio and the gallery and allows a large audience engage with it.

How did you come to collaborate with the Burrard Arts Foundation?
Renée: I was invited to participate. Thanks for asking!

Renée’s project will be displayed Friday, September 2nd from 8pm to 12am on the Robson Street side of the Vancouver Art Gallery. Follow the fest online with #facadefest.

Text by Go2 Productions,  Genevieve Michaels and Renée Van Halm

What’s On: Event Roundup

The best tech, marketing, and design events in October and November 2016. Get your tickets, quick.

Mobiconf 2016, October 6-7, Krakow, Poland. Mobiconf is where mobile developers, project managers, UI/UX designers and speakers converge to learn everything about mobile technology.

Inc 5000, October 18-20, New York, NY
The annual gathering of the top entrepreneurs from America’s fastest growing companies.

IMEX America, October 18-20, Las Vegas, Nevada
If you influence or manage international or domestic meetings and events, then IMEX America is where you belong this October.

Push.Conference 2016, October 20-21, Munich, Germany
Push.Conference is where designers and developers of outstanding digital experiences can meet, learn and get inspired.

RevolveConf, October 26-28, Charleston, SC
This conference brings together a diverse group of practitioners who will help you shift your focus from idea generation to idea execution.

Incite Marketing Summit, October 27-28, New York, NY
Marketing leaders from over 60 innovative brands map out the future of marketing in NYC.

Adobe MAX, October 31-Nov 4, San Diego, California
If you’re keen on updating your technical skills, Adobe’s annual creativity conference is the best place to start.

Inbound 2016, November 8-11, Boston, Massachusetts
Inbound’s purpose is to provide the inspiration, education, and connections you need to transform your business.

Event Tech, November 14-16, Las Vegas, Nevada
The latest technologies, the newest trends, the best practices, the biggest case studies – and you.

Gilbane Digital Content Conference, November 29-30, Boston, Massachusetts
This conference brings together content strategists, marketers, technologists, IT and business executives to learn how to improve content creation and delivery.



FAÇADE Fest: Studio Sessions with Artist Rebecca Chaperon

Rebecca is an artist whose paintings act as a means of storytelling. For her sessions with Go2, Rebecca tested her paintings on our 3D model to determine which pieces of artwork she wanted to incorporate into her presentation and which ones would require tweaking. We’ve made it possible for Rebecca to ‘live tweak’ the color saturation of each painting on the evening of the projection through the media server, to ensure each painting will be visible properly on the Gallery facade.  Additionally, our team will be creating simplistic transitions between each painting, as well as small object animation as a layer on some of the artwork pieces, which will bring some movement to the canvas.

We spoke to Rebecca about the festival and her artistic process.

What would you like our readers to know about your existing body of work that might help them contextualize your upcoming project for Façade?
Rebecca: Many of the projected works depict my internal psychic space as though it were a landscape full of waves of energy, creativity, and wonder. There is a continual theme of existentialism within my work and lately I have been examining the process of visual perception: optical input and cognitive understanding. The projected images are existing artworks that I have altered digitally to enhance them for the medium of projection and to create animated elements ie. making my paintings move! Most of the images are from either my Eccentric Garden Series or Imprint Series. And some of the originals are on display in the Art Rental & Sales showroom at the Vancouver Art Gallery until Sept 23.

What inspires you?
Rebecca: I’m inspired by ideas of surrealism, storytelling and the genre of science fiction. I’m fascinated by the process of how we perceive the world around us. Our landscapes provide a rich code of visual information that we reinterpret to create images in our mind of what these places “look like”.

How does working in projection mapping fit into, and contrast with, the work you’ve done  before?
Rebecca: I haven’t worked in coding and animation before. My skills are very limited in this area… we could say non-existent! But I have worked with other creatives who have those skills sets and helped me to adapt my ideas to those frameworks. The best example is from my Great Black Fire exhibit in 2011 – with the assistance of an expert, we created a way in which people could tweet their text into the paintings. It was fun to see people’s humor come through in their engagement.

Describe your project for Façade. How did you come up with the idea, and what kind of effect are you hoping to have on the viewer?
Rebecca: I will be showing approximately 10 different images with different elements animated. At the time of this interview we are still finalizing the details and working out the animations and the transitions but I can say that I hope to really envelop the viewer in the worlds that I have created. I love surrealism and projecting my already surreal paintings onto the art gallery will be even more surreal.

Were there any challenges in this process?
Rebecca: Technically speaking, I’ve been rusty with Photoshop as I usually only use it to adjust my images so that they are more accurate.. so it was interesting to refresh old skills and get used to that process. Other challenges came in the form of the medium itself, understanding that white and black aren’t going to project very well which lead to me making some adjustments to my images.

What have you learned about your art through this process?
Rebecca: I think I’d like to work digitally with my paintings in the future. I was surprised by how much I like the combination of using paint and importing it into digital programs. It’s fun to manipulate the images in photoshop and I haven’t done that since I was at art school. I look forward to seeing the effect of these manipulated elements of the images projected at such a large scale.

What was it like working with Go2 to complete your vision?
Rebecca: It was great to see the test projections and learn about the specific parameters that are involved with projections (I had no idea!). The test projections were good for me to see because we had a physical example to use and Go2 could explain very clearly the elements that I needed to consider before creating my final images for projection. It’s been a great experience so far.

How did you come to collaborate with the Burrard Arts Foundation?
Rebecca: I’ve known about BAF from perhaps the beginning via my friend, artist Joseph Staples, who did an initial residency. I know many people who have been involved with BAF in some form or another.  It’s wonderful to see the impact that you are having on Vancouver’s art community. I’m pleased to participate in Façade!

Rebecca’s project will be displayed Thursday, September 1st from 8pm to 12am on the Robson Street side of the Vancouver Art Gallery. Follow the Façade Fest online with #facadefest. Full schedule here.

Text by Go2 Productions, Genevieve Michaels and Rebecca Chaperon


FAÇADE Fest: Studio Sessions with Barry Doupe

As mentioned in the previous post, Go2 is the official technical partner of the FAÇADE Festival and provided mentorship to the five participating artists, guiding them through the process of projection mapping.

The next artist to visit us in the studio was Barry Doupé, a Vancouver-based artist primarily working with computer animation. For his presentation, Barry chose to display a pre-rendered animation. Using our four-foot 3D printed model of the Vancouver Art Gallery, Barry was able to test his animations to determine if the sizing and speed of his objects would work well for the live presentation.

We got Barry’s thoughts on the FAÇADE Fest and how he prepared for it.

Prior to this project, you worked extensively in video and computer animation. What would you want our readers to know about your existing body of work?
Barry: That I’m currently working on a new feature-length animation that’s about half way done. I’m also working on a series of digital paintings and writing scripts for a series of live action monologues. You can watch clips of my previous work at barrydoupe.ca.

What inspires you?
Barry: A lot of things. It could be a situation, a memory, language or an image. Right now I’m being inspired by weird compositions.

Describe your project for FAÇADE. How did you come up with the idea and choose what art to project? What kind of effect are you hoping to have on the viewer?
Barry: I made a virtual pixel board using 3D animation software, 3D studio Max, and then designed an algorithm where I can control and animate the colour palette of each pixel. I wanted to do something that complimented the structure of the building and that also had a colourful summer energy.

Were there any challenges? What was the hardest part of the process?
Barry: The biggest challenge was coordinating colour combinations that I thought worked well together, making smooth transitions, and not having the video be too repetitive.

How does working in projection mapping fit into, and contrast with, the work you’ve done in video and animation before?
Barry: It’s a new process for me. I started out by looking at other examples online. There are a lot of showy things, like having the façade crumble or dragons flying out of windows, that kind of thing. Those examples are a lot of fun but I wanted to do something more simple and formal. I’m currently working on a feature-length animation and it requires me to focus a lot on narrative and think about how all the scenes work together. For this piece, it was refreshing to take a break from those narrative concerns. The nature of projection mapping lends itself to more optical explorations of colour and surface and texture.

What have you learned about your art through this process?
Barry: That working on a project that has some pre-set elements can be really creatively exciting. This project is specifically going to be projected onto the front surface of the Vancouver Art Gallery. I often pass by the site and stand and look at the different angles of the surface and think about them.

What was it like working with Go2 productions to complete your vision?
Barry: They provided some technical assistance and made a mock-up that helped me envision how the final piece will look when projected.

What are your thoughts on the coupling of art and technology?
Barry: For me, it’s a sense of collaboration that I get from the tools in the technology. There’s a back and forth between the tools and the ideas that they give me and the creative possibilities that I come up with based on their parameters.

How did you come to collaborate with the Burrard Arts Foundation?
Barry: My name was put forward by an outside committee, and then they contacted me and asked if I was interested in participating.

Barry’s project will be displayed Wednesday, August 31st from 8pm to 12am on the Robson Street side of the Vancouver Art Gallery. Follow the Façade Fest online with #facadefest. Full schedule here.

Text by Go2 Productions, Genevieve Michaels and Barry Doupé. 

FAÇADE Fest: Studio Sessions with Eric Metcalfe

As the official technical partner of the FAÇADE Festival, Go2 Productions provided two hands-on mentorship sessions to each of the five artists taking part in the festival, guiding them through the process of projection mapping. We also set up an additional introductory session with the artists so they could view examples of how creative can be altered or skewed once it is projected onto the surface. Go2 then provided the FAÇADE Fest with a four-foot model that could be used to test all of the artists’ creative works to give them a realistic idea of how each piece would work on the surface.

Eric Metcalfe’s art practice has crossed and merged disciplines from painting, drawing, sculpture and printmaking to performance and film. Eric worked closely with Go2’s Art Director over two sessions, ensuring that his unique, elaborate paintings would be seamlessly projected onto the Vancouver Art Gallery. This involved strategic placement, and 3D wrapping of the creative.

Go2 worked closely with Eric to develop a series of 3D transitions that would create an illusion between each individual painting. The aim was to keep Eric’s creative vision intact and create a unique visual transition that would not only manipulate the building but would seamlessly guide the audience through the presentation.

We got Eric’s thoughts on the FAÇADE Fest and the process of getting his artwork ready.

FAÇADE Fest: Studio Sessions with Eric Metcalfe

1. Previously, you’ve worked in drawing, painting and performance art. What would you want our readers to know about your existing body of work?
Eric: I would have to say that my work has always been influenced by media such as comic books as a child, movies such as westerns, war and film noir, literature, classical music and jazz. Over the years I have been involved in several concept projects and collaborations. In 1973 I also collaborated with Kate Craig on Leopard Realty, which was an outdoor mural painted on the façade of the Vancouver Art Gallery (at its former location).

2. Describe your project for Façade. How did you come up with the idea?
Eric: I was really excited when the Burrard Arts Foundation approached me about the project. My initial idea was to portray works from my Stellar gouache series and eventually the work evolved to include the Leopard Realty piece as well – a homage to the 1973 mural.

3. How does working in video and projection mapping fit into, and contrast with, the content and mediums you’ve worked in before?
Eric: It opens up a whole new area to explore, a new technology that could be used in the toolkit for future use.

4. What have you learnt about your art through this process?
Eric: I can see now after my experience during the creative process with Go2 Productions that projection mapping offers a lot of potential to the realm of visual arts as well as being a new branch to explore.

5. What was it like working with the Go2 team?
Eric: I really like working with Go2 productions. They appreciated my creative practice and allowed for a carte-blanche approach.

6. What do you think of the integration of technology and artistic expression?
Eric: First of all, I’m an artist who chooses and works with the correct medium and the right tool for each project, keeping in mind how and where it will be viewed. In regards to the work I have created for Façade Festival 2016, using projection mapping to portray the work is the right method. It’s an exceptional opportunity – so different and exciting to do something outside of the traditional realm.

7. How did you come to collaborate with the Burrard Arts Foundation?
Eric: I was commissioned in 2014 to work with the Burrard Arts Foundation to work on a large indoor mural titled, Stellar. The mural is currently located within the interior lobby of the Burrard Building in downtown Vancouver 1030 West Georgia Street.

Eric’s project will be displayed Tuesday, August 30th from 8pm to 12am on the Robson Street side of the Vancouver Art Gallery. Follow the Façade Fest online with #facadefest. Full schedule here.

Text by Go2 Productions, Genevieve Michaels and Eric Metcalfe.