Guy Schofield

I work in installation, film, performance, music, physical computing, virtual and augmented reality, animation, and games. I am interested in the connections between spaces and texts, especially in interactive media, and the role of human creativity in an increasingly technologized world.

My practice often draws on games and cinema as well as contemporary art. As a multidisciplinary artist/designer/researcher, I have developed and presented digital artworks, technology demonstrations and workshops at conferences, festivals and exhibitions in the UK, Europe, USA, South America, South Africa, and Asia. My professional practice over the last 25 years has included making work for exhibition, leading participatory art projects and creating digital visualisations for other artists, including Liliane Lijn, Wolfgang Weileder and Cecilia Stenbom.

Between 2007 and 2015 I also worked as a researcher at the arts and technology research institute Culture Lab, where I contributed my skills and perspectives as an artist to Design Research projects. I continue to work in academia, developing projects with Universities, museums and galleries and as a freelance animator and designer. I am currently mainly working with game engine technologies, developing screen-based works in which content, cinematography and narrative are determined by interactive systems in real time. I am also developing works in which I am applying photogrammetry techniques to the traditional disciplines of figure drawing and landscape. I am interested in the uncanny quality of the resulting images but also how the glitches and errors occurring in the process equate to the imprecision of traditional, manual drawing techniques.

Islands_1

 Real-time Computer Graphic Imagery

N/A (screen-based work)

2023

£1400

Islands is a series of screen-based interactive ‘landscape paintings’ exploring the relationship between human intervention and climate change. Designed for public exhibition, each work responds to the physical presence of viewers via a passive infrared (PIR) motion sensor. The more movement in front of the work, the faster the water level rises. Each piece is made using a physical clay and stone model, scanned using photogrammetry techniques and augmented with real-time digital water and atmospheric effects.