I’m a musician by training, and wherever it’s appropriate I try to think of the visuals I produce as another musical instrument or performer – so not necessarily an add-on or background. As an “instrument” the visuals have got to work as part of the whole setup, and be integrated with it. So if typical VJ visual wallpaper is what the overall effect needs, that’s fine; I’ll do it. But if the overall effect is better served by closely synchronising individual visual elements with specific musical components, I’d typically rather do that. So I aim to synchronize intelligently, reflect and express the music's structure and mood, and pick out key musical elements.
I also want the visuals to mean something, and to have some relevance to the music. Sometimes this isn’t possible, but I’ve been surprised how many times it works well, and draws the audience in as a result.
Here's an indication of the range of work I do:
- Synchronised video sequences for Banco de Gaia live performance (ambient dance)
- Synchronised, live performed sequences for the Afro Celt Sound system (world/dance)
- Visualisations for orchestral pieces by Simon Richmond (of The Imagined Village) and Simon Emmerson (of the Afro Celts)
- Semi-improvised visuals for John Law’s electronic jazz “Boink!” project
- Fully improvised VJ sets for The Orb and DJ Billy Nasty
- Synchronised visuals for Mozart’s opera “Cosi fan Tutte” (Cooper Hall production)
- Prepared VJ sets for many local clubs and events