I design 3D experiences that allow people to resonate with information in new ways, and that can act as a space to feel our way through big problems. I support directors in finding the deeper message of their work, and how they might best communicate it using cinematic visual storytelling and emerging technology. I aim to craft a flow between interfaces (the physical and digital, informational and expressive) that is tangible, intuitive, insightful, and meaningful.
I have applied my real-time art, animation, and live-action storytelling to immersive projection, VR, AR, games, and short films. My broad skillset allows me to translate across disciplinary teams and to wear multiple hats in both hands-on and supervisory roles. I am especially curious about how media can be meaningfully personalized using generative AI and spatial psychology. My work has received recognition from HBO Films, the Academy Awards, Sundance, the Venice Biennale, Sloan Science & Film Foundation and more.
ANY WAR ANY ENEMY
An immersive evocation of mass human extinction.
VR + 360/dome projection. 20 minutes, Unreal Game Engine. In progress - expected summer ‘24 premiere.
DIRECTOR: LENA HERZOG | ART DIRECTOR, ARTIST: AMANDA TASSE | TECHNICAL DIRECTOR: JONATHAN YOMAYUZA | COMPOSER: MARCO CAPALBO
The goal was to create a space for contemplating senseless mass destruction from nuclear war. It bridges immersive real-time (photogrammetry, stylized 3D art) with traditional analog methods (illustrative etching, painting, sculpture) to evoke a continuum of humanity imagining our eventual demise. We wanted to visualize emotional states of realization and loss with tactile texture.
Technical director Yomayuza and I assisted Herzog with strategizing the translation from traditional art into 3D spatiality and story, researching and developing novel methods for real-time 3D. Herzog inventively re-translated the stylized photogrammetry back into 15th century Italian etchings, which premiered at the 2024 Venice Biennale. I created iterative concept art and assets (illustration, stylization paint-overs, storyboards, textures, shaders, character models, rigs, animation, motion titles). My traditional and digital fine art experience helped me translate amongst team members for especially challenging stylized assets.
Last Whispers
An immersive, experiential work dedicated to the extinction of languages.
VR + 360/dome projection. 30 minutes, Unreal Game Engine. Premiered 2022, Venice Biennale. Premiered 2019, Sundance New Frontiers (earlier VR excerpt).
Video. 55 minutes, AE, C4D, Live-Action. Premiered 2016, British Museum.
Now touring globally in conjunction with the UN/UNESCO decree naming 2022-2032: The International Decade of Indigenous Languages.
DIRECTOR: LENA HERZOG | ART DIRECTOR, ARTIST: AMANDA TASSE | TECHNICAL DIRECTOR: JONATHAN YOMAYUZA | COMPOSERS: MARK MANGINI, MARCO CAPALBO
The goal was to help the viewer “feel” the massive scale of rapid language extinction, and to celebrate last whispers from dying languages. I was initially hired to create a series of maps to show locations of featured languages. My role evolved into the design and animation of an evocative extended media world.
We intended to create a visual space that amplified the sound design of remixed archival voices from dying or extinct languages, created by Mark Mangini (academy award winning sound design for “Dune”, “Mad Max Fury Road”) and Marco Capalbo (avant-garde composer). I helped Herzog ground and visualize the world, and created many of the art assets (concept sketches, digital paintings, textures, models, animation, motion design). I also adapted them from our initial 2D/3D 55 minute video (Cinema 4D, After Effects, Drone Photography) to full 3D (Cinema 4D, Unreal RT3D) for VR, dome, and gallery projection.
My initial world-building design integrated real-world data (Global Informational Systems, satellite weather imagery, language scripts) with expressive methods (digital painting, illustration, modeling, etc.). I demonstrated some of this process as an artist for Intel’s booth at the Adobe Max conference. Screenshots of the images have been featured heavily as printed photographs alongside the projects’ screenings and in press.
BARDO BEAR
a spatial psychology well-being quest for VR and 360 projection (early concept art, 2024)
Bardo Bear is a 3D immersive play experience that joins esoteric ritual and sacred world-building with contemplative art therapy activities to support kaleidoscopic well-being. A bardo is a liminal journey between worlds. Bear is a spirit guide that helps with navigation, gestures, and activities as needed.
early exploratory collage sketch
early exploratory AI sketch
Bardo Bear involves research and development into spatial user experience design for well-being. Navigation includes embedded cellular “marks” for storing and sharing reflections in “the grid”, and links to connect to the spaces where they occurred. It includes symbols to access new activities and whirls to jump to energetic spaces associated with color hues.
early sketch prototype of spatial navigation map
rapid storyboard sketch to show level progression
The following is an advanced student game project created at USC. I include it to show a completely different style applied to a complex secondary learning marine biology game. Since then, I have created additional games and experiences in Unity and Unreal. My main website page “work” includes more examples.
Miralab
A puzzle game about exploring a bioluminescent playground as an immortal jellyfish. 3D game built in Unity. ~20 min. 2014.
Goal: Create a playable eco-system where you explore and survive as an immortal jellyfish.
Mentored and facilitated collaboration among engineers, artists, and designers
Won Serious Gameplay Awards Gold Medal, Educational Games
Designed as a play-based secondary learning experience where all aspects of the design, AI, and art were informed by the jellyfish’s ecosystem. Open sandbox playable orchestra of interactive sonic plants alternates with ecosystem puzzles.
