Halo
In these six animated paintings presented as a single channel video, the artist reenacts situations and motifs from the first-person shooter series Halo and the erotic videogame Dream Stripper. Conceived as a dynamic, virtual collage, HALO shows short stock animation loops of characters dying over and over, with koi, dining chairs, asteroids, guns, flowers, torches, pinball machines, candles, and discarded pillows floating around them, creating a hypnotic motion.

Immersed Garden
Immersed Garden is in its true sense a sunken world. Floating bodiless in an underwater garden, natural sounds guide you through an immersive surrounding, somewhere between calming and irritating, natural and artificial. It is a playful exploration of the individual conception of safety and confusion and a personal approach to aesthetic references to habits of introspection and retreat in digital environments. It was created by fusing different digital processes like photogrammetry of selected natural places around Karlsruhe and field recordings in a local natural reserve. Underwater videos hybridize with 3D scans of trees and plants while invisible frogs are croaking and humming birds are buzzing by synthetic flowers. The artistic aim was to explore the personal perception of calming and irritating, playing with the concept of immaterialness and attentiveness. The artwork creates aesthetic references to philosophical and scientific theories of introspection and identity.

チームラボ
floating flower garden
“Much as Random International’s “Rain Room” allowed visitors to walk through the rain without getting wet, “Floating Flower Garden” is designed so that viewers can walk through a hanging garden without getting … flowered. Sensors that detect an approaching viewer cause flowers in that viewer’s vicinity to rise.” Kriston Capps

The Nutcracker
Waltz of the Flowers
New York City Ballet

“You don’t think of choreographers as mathematicians — yet group dances involve arithmetic and geometry. Nobody mastered those aspects of the art more brilliantly than George Balanchine.
See what he does with the “Waltz of the Flowers” in “The Nutcracker,” as in this short detail:As it begins, 14 women, arrayed in four rows, face front. The two demi-soloists start: They dance from our right to left, with two turning jumps at the end of the phrase. Then a row of four women behind them take up the same phrase — but now the first two women repeat the phrase in the opposite direction, from left to right.It’s like seeing screens sliding in opposite directions. Then the next row takes it up; then the next; suspense and excitement build. It’s an accumulating canon — not spread out across the stage but at close quarters”. Alastair Macaulay