Within the art exhibition in ex Dogana of Rome, dedicated to artistic creativity and scientific experimentation, the video productions of Universal Everything have a decisive position. We asked some questions to Mike Hughes, creative director of the project.
All’interno del percorso espositivo all’Ex Dogana di Roma, dedicato alle commistioni tra creatività artistica e sperimentazione scientifica, le produzioni video del collettivo Universal Everything ricoprono una posizione decisiva. Abbiamo posto alcune domande a Mike Hughes, direttore creativo del progetto.
You have idealized Brand Identity for major brands. What is the difference in making an artwork and a commercial work?
Mike Hughes: «Ideally there should not be any difference in terms of approach, both can offer great opportunities to create something very creative and compelling».
How was born the basic idea about artistic project introduced to ArtFutura?
MH: «The works we exhibited at Artfutura, Ex Dogana Roma was part of a larger ongoing series of films Universal Everything is working on called Screens Of The Future, visionary prototypes, based on the emerging technologies of flexible displays, shape-shifting materials, bioengineering and context-aware functionality. These films highlight humanity’s increasingly integrated relationship with technology, serving as product demos of our near future».
Screens of the Future: an ongoing series of visionary prototypes, based on the emerging technologies of flexible displays, shape-shifting materials and context-aware functionality.
The theme of the relationship between man and technology is frequently in your works, is there anything in particular that links you to this argument?
MH: «All of work strives to create a compelling emotional connection, human expression within technology creates this».
What are the technologies you utilize for your works?
MH: «Our studio practice starts with drawing and extensive R&D. Then utilizing moving image production tools like Houdini, Cinema 4D and Unity for real-time artworks. Often our works are multi-sensory, which means we may combine technology, design, architecture and sound design to create immersive experiences».
What was your most passionate project?
MH: «A video installation for Ron Arads Curtain Call, Parade, it’s currently still touring worldwide. It was a lot of fun and allowed us to be very inventive with an incredible screen display, an 18m diameter, radial projection surface, made up of a 5600 silicon rods».
Parade: inspired by bio-engineering and the Grotesque art movement. A series of strange and wonderful characters parade to their own drum beat, each outdoing the other.
Intervista a cura di Valerio Aquilani, Michela Napoletano, Sara De Rossi e Stefano Santangelo