Multichannel Real-Time Video Floor Projection
Refractions is an exploration into the role water plays in the identity of the Gold Coast, and the hyper-real constructions of water that promote and inform the Gold Coast experience.
Inspired by the ability of digital media to physically affect bodily sensation, my practice seeks to explore virtual and physical spaces that can envelop the senses. This is done by employing various projection mapping techniques, experimenting with interactive media such as motion sensors and body tracking, and looking at the relationship between the body, media, and space., I also perform as a VJ (visual-jockey) at some of Australia’s most diverse music festivals, including Rainbow Serpent and Earth Frequency Festival.
Meet Jason Haggerty
Inspired by the ability of digital media to physically affect bodily sensation, Jason's practice seeks to explore virtual and physical spaces that can envelop the senses. He does this by employing various projection mapping techniques, experimenting with interactive media such as motion sensors and body tracking, and looking at the relationship between the body, media, and space. Additionally, He perform's as a VJ (visual-jockey) at some of Australia most diverse music festivals, including Rainbow Serpent and Earth Frequency Festival.
Where do you reside on the Gold Coast?
What brought you to the Gold Coast ?
I grew up on the Gold Coast, in the sleepy northern suburbs. I guess the real question is what keeps me coming back? As a creative, the coast has been very kind to me - I was fostered by the Gold Coast City Gallery and its amazing team; was given endless opportunities to experiment at The Walls Art Space; studied at the Gold Coast Queensland College of Art where I have taught throughout my postgraduate studies; and have seen the city flourish into a creative hive of energy and excitement. There is a slew of creative champions that fearlessly raise the bar for the arts who redefine the relationship a city can have with its art community.
What do you love most about the Gold Coast and making art here?
The openness of the community and the feeling that we are all in it together. I venture around the country, but the coast has an energy of inclusion and incubation that occurs in times of great change and growth.
The coast itself is a great studio, being able to gather my thoughts whilst walking through the afternoon waves is something I cherish and crave.
How do you feel we can make the Gold Coast a better city?
I feel like we ARE making this a better city by recognising the role of arts in creating a healthy ecosystem of creativity, critical response, and experimentation. I believe the most important thing a city can do is to foster the talents of the youth by creating pedagogical streams and safe creative spaces, whilst supporting the emerging artists as they find their creative legs alongside those who are already established. It may take a generation or two for the seeds the city has planted to become firmly rooted, but it is getting better with each passing year.
What does a souvenir mean to you?
I consider a souvenir to be the barnacles that attach to your soul as you move through the world; regardless of whether your stay was fleeting or extended, a souvenir is that icon of memory, of place, and of being. The sticker my five-year-old self kept from Spain, a ticket stub from Montreal, and the olfactory sensation of bad coffee in LA, these are illuminated and given a home in my mind, a page in my internal referdex of ‘that-has-been’.
Outline your ideas for what you are considering on making for the project?
In my studio process, I am considering what can constitute a digital souvenir, considering the contemporary role that images play in remembering, and how this can form an experience for those entering the caravan space. I have been working with found images and artefacts, fusing those with projection mapping techniques to explore and discover new spatial qualities.
What’s your perception of the souvenir in todays modern world?
I feel today’s souvenir is in a state of flux. With the digitisation of imagery and experiences through digital cameras and social media, the ‘shared’ photograph has become a kind of stand-in for what may have been a personal artefact. The hunt for the perfect image that signifies an experience, its dissemination into the ether of the internet, and the consumption by those on the other side of screens speaks of an outward gratification – souvenir as status. However, in response to this self-exhibition, the souvenir artefact finds a new power, it exists in the shadow of social media and penetrates what it means to remember internally.
Do think souvenirs can be culturally relevant in todays day and age? How so and have you seen something before?
It may be a by-product of growing up in a tourist destination, but for me, souvenirs have always communicated a unique form of cultural relevance. A postcard reading, ‘Wish you were here’ in a neon font over bikini-clad women, a clip-on koala, a Surfers Paradise t-shirt – they communicate the Gold Coast as destination; they speak of an image of the Gold Coast that lives on in the mind. In this mobile-phone-mediated contemporary world, souvenirs may appear like tactile relics of the past, but the mind will always find an artefact in which to imbue the past. The relevance of the souvenir is as a product of the memory of a culture.
How do you find your involvement with Super Souvenir exciting?
This is a dream-team of Gold Coast creatives that are wholly consumed with their creative practice. To be included as a projection artist in such a project is an absolute dream. Perhaps the most exciting aspect is that I am diving into an established project that is conceptually rich – all the elements are there for me to immerse myself in making-thinking-exploring. The multiple levels of site specificity have teased my mind recently; the Gold Coast, the caravan and my memories meld together as a particular spatial foundation, encompassing the past, present and future.