The project is one of 12 commissions across the nation, one in each of the English regions and one in each of Scotland, Wales and Northern Ireland.

Bus-Tops consists of series of LED panels mounted on roofs of bus shelters across London, inspiring wonder and creativity in unexpected places. The panels will become canvases showcasing digital commissions by a range of established artists, as well as allowing Londoners to display their creativity, play games and express what is special about their London.

People will be able to submit and view artwork through a number of mediums including website and mobile applications. Using drawing toolkits, users can create images, text or animations for display on the panels. For those unable to view the roofs of bus shelters, the website will provide live updates of the artwork and the opportunity to construct personal ‘routes’ through the works.

Cutting edge technology will also allow the bus shelters to develop individual personalities, becoming ‘Viziters’ to the city in their own right in the run up to the Games. Over their period of stay, each Bus-Top shelter will develop a unique character through their relationships with each other, members of the public and participating artists.

This was National Theatre’s requirement when they approached me about bringing the project to life. Produced over 6 months in collaboration with videographer Harold Raitt and Toby Coffey at the National Theatre, I headed up the design, animation and programming for the project, as well as integrating the tour with their existing Webler CMS system.

The map is a video rich interactive with over 300 films, navigated using animated 3D floor-plans of the theatre. It contains a wealth of accessible information about the theatre itself, and the processes involved with bringing a production to the stage. As well as being fascinating to watch, the content also supports many elements of the national curriculum, and in particular the Creative and Media diploma.

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At the time I had been experimenting with space filling algorithms and fractals, and it seemed like a great opportunity to create something beautiful from the techniques.

’20,000 Love Letters’ is simply that, 20,000 individual letters filling the canvas, distributed across the 4 letters
L, O, V, E. The stochastic nature of this kind of algorithm means that each run creates a unique image. I produced a very limited run of 10 unique prints, all are now sold.

I wanted to create MIDI controllers at all the points where the players body touches the guitar whilst playing, allowing the player to express their sound not just via the strings and fretboard, but by using the natural changes in pressure on certain parts of the guitar whilst playing.

The sensors are placed on the bridge, scratchplate, and upper body, with toggle switches to control their usage and an additional slider controller. A USB gamepad is used as the A>D to the computer, where the raw data from the sensors is converted into MIDI controller data, which is used to manipulate digital effects that are processing the guitar sound.

We built a ‘Samba Dance-off Game’ – enticing children to come up to the windows and dance infront of large screen. When the children dance, characters from the film come onto the screen and dance with them. Dance meters then appear at the top of the screen – 2 children can now compete in a ‘dance-off’, the first of which to fill up the meter is rewarded with an explosion of streamers and confetti raining down on the the characters.

The challenge of detecting and tracking children dancing on a busy high street was an interesting one. I used a Kinect depth camera to capture the scene, and wrote the tracking/display software in C++ using openFrameworks.

The interactive has been drawing huge crowds outside GAP’s flagship Oxford Street store in London as children compete against each other to become a ‘samba superstar’. Surprisingly, just as many adults have been caught ‘shaking their tail feathers’! The project was simultaneously launched in GAP’s London and Paris flagship stores and ran for 1 month.

The tour to showcases the brilliant courses held at the Guildhall, using maps of the building to easily navigate through the wealth of mini-films and interviews about the school.

I headed up the design, animation and programming for the project – for which the Guildhall had a restricted budget. Together with Harold’s collaboration, I worked efficiently and creatively within the budget to deliver a simple but highly successful online tour.

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I design, build and maintain their website for them. Built on a Business Catalyst platform the site incorporates a full e-commerce, CRM and marketing under one roof. As always the challenge with using a turnkey solution like Business Catalyst is creating something unique with it. After no shortage of blood, sweat, and a few tears, the Dupenny website is now a leading online shop in their marketplace.

As well as Dupenny’s website, I also produce all of their newsletters, pack shots and product images using a combination of photography and 3D renders.

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I developed the working interface in Flash/Actionscript, and the prototype was used for user testing in the Japanese markets.

view the prototype >

I worked with them as part of their ongoing initiative to both digitise it’s entire media archive, and create a purely digital workflow for future productions.

Collaborating with a small and focussed team, I designed and developed a collection of concept interfaces and workflows for the software that will manage this archive.

Commisioned by the Public Art Fund, and designed by Erwin Redl, the 10 x 50ft installation consisted of over 36,000 individual fibre-optic strands threaded into glass-covered steel. Unlike a lot of light installations where the state of the lights themselves are modified over time, Erwin’s approach is keep the lights behaviour static and allow the movement of the viewer to create the illusion of a changing state. As you move aound Matrix VIX the wall appears the glint and shimmer, when in-fact the lights remain constant. It’s a unique and insightful approach to this kind of work.

I helped with all aspect of the build over the course of 6 weeks – drilling, soldering, wiring, and of course the unenviable task of helping to thread 36,000 individual fibre-optic strands into an equal amount of 1mm holes…