Technology allows us to interact with each other in new ways. Collaboration and creative development are not exempt from this phenomenon. My artistic process coupled with the ability to realize complex technical systems offers a unique, personal, and most importantly human perspective on digital art. This point of view enables artistic collaboration and distinguishes brands from traditional digital content. Below is a sampling of different types of commercial collaborations from audio-visual instruments to interactive installations.


Click and drag to change your camera’s position.
Every teal UI object controls the experience in a different way.

︎ What You Don’t Know, 2019


Dive into the creative process of avant-pop artist Matthew Dear from his new single of the same name. Floating above you is a magic eight-ball beaming lyrics. In the distance planetary objects orbit around you to the beat. And directly ahead is an elastic wave which bounces, bulges, and twists to the complex melodies. This multi-layered visualization allows you to pivot along eight unique instruments, manipulate the speed of each one, and scratch as if you were standing on a giant turntable. The result is a music video that asks what you know about music creation. Whether through VR, mobile, or desktop, this WebVR experience offers a new way to appreciate the craft of music. Distributed under the partnership of WITHIN and Ghostly International and freely available on the web.
Stills from the experience


︎ Mellow Waves, 2017


Mellow Waves is the  studio album from the band Cornelius. For me it is a varying ride of pensive thought and staccato emotions. There are many familiar hooks and textures where collegiate nostalgia surfaces. In other moments I am caught with unsettling feelings about what is and what might happen — both musically and emotionally. Despite these salient qualities nothing defines Cornelius more than Keigo’s voice. This goes beyond just the sonic qualities of the music he produces. The visual accompaniment for Cornelius’ music videos, album art, and stage performances reinforce the thoughts and feelings as much as songs. When Rostrum Records reached out to chat about collaborating for the American release of a special vinyl press for Mellow Waves, we came up with a special website where you can play custom sound clips from the album alongside his concert visuals.
Mellow Waves, real-time audio/visual instrument available on the web


︎ The Doomsday Invention, 2015


The Doomsday Invention (link) is the title of an in-depth New Yorker article written by Raffi Katchadourian. In it, he explores the ethics and futures of artificial intelligence primarily through the thoughts, events, and circumstances surrounding Oxford philosopher Nick Bostrom. Working with Brooklyn-based studio Hunter Gatherer (link) and the New Yorker art direction team, we realized the publication’s first interactive illustration. This gave added weight to the article’s cover spreads on both the publication’s website and mobile applications, while simultaneously staying consistent with printed material.
    The direction stems from the concept of cumulative computer functions or routines. Each routine individually is rather simplistic, hence the geometric foundation. However, when combined and automated there are radically large combinations that yield unique but cohesive elements. The earthen color palette furthers the mundane nature of these routines. As society enlists more use cases of artificial intelligence,  its currently mysterious movements will emerge as perceivable intent.
Mockup of article on different devices and screen sizes

Early prototype exploring parametric qualities of artificial intelligence routines


︎ Unnumbered Sparks, 2014



Unnumbered Sparks is a monumental interactive sculpture in the sky. Choreographed by visitors in real time through their mobile devices, at night the sculpture became a crowd-controlled visual artwork on a giant, floating canvas to celebrate TED’s 30th anniversary.
    The sculpture spanned 745 feet between buildings in downtown Vancouver, Canada for one week in March, 2014. After sunset the sculpture came alive with illumination. Visitors with smartphones and tablets were able to paint vibrant beams of light across the sculpture at a remarkable scale: small movements on their phones became hundred foot long trails evolving and combining with fellow participants. As part of Google’s Data Arts Team, I developed, designed, and architected the visuals that visitors created on the sculpture.

Photographs of the installation by Ema Peter