Jane Longhurst

LIFE/CYCLE Q& A with Matt Daniels

Matt Daniels. Digital Art Series from Grad Show 2011 as viewed on his website www.formula7.com
Matt Daniels is a Digital Artist and Creative Technologist. He spoke to me in the lead up to LIFE/CYCLE about his contribution to the production and how he applied his creativity to the unusual performance space in the Old Mercury Building, in Nipaluna / Hobart.

How would you describe the role of digital art within the surrealist vision of LIFE/CYCLE?
The role of digital art in this production is to augment the world of the stage, helping transport the audience while respecting the unique character of the venue. It extends the physical space into an ethereal, shifting landscape that enhances the play’s moods and reinforces the cyclical nature of life.

What technologies are you utilising to create the immersive experience in The Old Mercury Building?
I’m using projection mapping, combining treated photographic and generated imagery with both prerecorded and live video assets.

What was your creative process for developing digital art that complements live performance?
I start by understanding the emotional beats of each scene, then design visuals that support and amplify the storytelling. I create more content than I’m likely to use, then pare it down to the most compelling elements. Collaboration with the director and designers ensures the projections feel organic rather than overpowering.

How does your work interact with the other design elements (lighting, sound, set design)?
The projections are carefully integrated with lighting, sound, set design, and choreography to create a cohesive sensory experience. Light levels and colors are balanced to enhance the mood. A deliberate decision was made to use projection to establish scenes and then scale back at key moments, allowing the space to expand and contract in response to the action on stage.

Can you share a technical challenge you faced in this production and how you overcame it?
The main challenges were controlling the light and working within the limitations of available equipment. Thanks to the generosity of the building owner, we were able to block some skylights, giving us greater control over the space. Designing the work specifically for this venue meant that what might have been technical obstacles instead became creative parameters, shaping the final visual aesthetic.

What do you hope audiences take away from the digital components of the performance?
I hope audiences feel transported—immersed in a world where reality and illusion merge seamlessly. The projections aren’t just scenery; they act as an emotional undercurrent, enhancing the narrative in unexpected ways.

 

LIFE/CYCLE opens Friday 28 2025 as part of Ten Days on the Island.

This project is proudly supported by Detached Cultural Organisation, Auspicious Arts Projects and over 100 donors via Creative Partnerships Australia through the Australian Cultural Fund.
Grateful thanks to the Tasmanian Government, Creative Australia, Regional Arts Australia, RANT, Mudlark Theatre, Blue Cow Theatre, Theatre Royal Hobart, Assembly 197 and MADE.