Liam got chatting to Yeah Nah Yeah #6 VJ Carla and luckily enough someone was there to record the entire conversation. 

1) How did you become a VJ/video artist?

Whilst living and studying art in Seyðisfjördur, Iceland back in 2014 I was subjected to some pretty dark conditions. We brightened up the days by holding regular parties in the school hall and local bar. Living remotely, we only had access to what was around us – I rummaged around the kitchen and found oil and food dyes and started mixing colour live with an overhead projector. It felt exhilarating being able to have an effect on mood and ‘perform’ for a small audience. This soon became a fun, liberating outlet from the usual editing cave so I began to contact sound producers to create and collaborate with. I got the chance to film a number of music video’s for Scandinavian bands in 2015 and on my return to Australia I finally discovered the software which allowed me to mix visuals live and projection map content to stages. I stepped into the festival scene in June 2016 and have since travelled up and down the east coast VJ-ing under the moniker ‘ASTERISM’. I’m about to embark on a VJ tour around Scandinavia for the summer and have been given the opportunity to exhibit video art at Copenhagen’s Distortion Festival.

2) How would you describe your artistic style?

Sensory overload with abstract, undulating pools of saturated colour. It responds to the everyday but distorts it, conjuring up surreal environments that trigger memories or an emotional response. My work disconnects from reality by deconstructing living organisms to a cellular level and then warping them in playful, dream-like spaces.

3) Who are your main influences?

Timeboy, Teamlab, Bill Viola and Björk!

4) Do you find it challenging to share your art in Sydney?

I share most of my material via social media platforms like Instagram. I guess the challenge is that viewers are ingesting masses of content without actively searching for it, it simply appears then fades. As people scroll deep through their feeds, they start to suck information and pixels in mindlessly, so you have to make effective content for short attention spans. What I share has changed dramatically, mainly surreal loops for rapid engagement. It’s a quick fix or snapshot with no start/end point, it’s continuous, you can jump in and out at any time and doesn’t always represent any particular thing. It holds audiences captive for a short while, before they move on/scroll down.

5) What are you most looking forward to doing with your art in the next 5 years?

My dream would be to operate visuals for Eurovision now that Australia has snuck in. But maybe more realistically – to work in a team that projection maps famous landmarks for light festivals. It would be awesome to design animation for 360 domes and immerse audiences in a portal of sound/vision. But it would also be cool to go a bit rogue and ‘paint’ digital graffiti across walls, colour city streets and laneways with video art or interactive visuals


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