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2: THE LOCOMOTION (WITH ME)

2: THE LOCOMOTION (WITH ME)

“2: The Locomotion (With Me)” is a sequel to Edward Muybridge’s seminal ‘Animal Locomotion’ series of photos. In the piece, I perform a series of stock movements (running, falling, jumping, star jumps, forwards roll) as dictated by the audience via an iPad, and a Rokoko suit captures my movement which is mapped onto an almost-nude 3d scan of myself in Unity and routed via NDI to Isadora, which captures individual frames of the motion and displays them side by side, superimposed on the same grid background that Muybridge used in his original photos.

I was interested in using modern technology to recreate what is often (albeit incorrectly) considered one of the first instances of motion capture, and in continuing to explore the idea of cruelty to performer (I went into this in full knowledge the audience would have me repeat painful or difficult motions, or try to make me do multiple at once - and they did.). The title is a pun on the line “Come on, come on. Do the loco-motion with me”, from the song “Loco-motion”, originally recorded in 1962 by Little Eva - but most known by Kylie Minogue’s cover.

Photos by Mark Williams

An example of Muybridge’s original work.

Playing Wolves

Playing Wolves

Part of the Jim Henson Awared for Puppetry

In this scene presentation from Leo Grierson’s work “Playing Wolves," the theme of identity is explored through the use of both physical and digital puppetry. In one version of the scene, the characters of Lux and Kendra meet to play their stuffed animal game of "wolves." In the second presentation, the wolf game is played out with just their bodies, while their wolf alter egos are suspended above them, controlled through motion capture. Each version of the scene presents a different way to approach the perception we have of identity - and what aspects of identity we influence control over, and which seem to act without our knowledge.

My role in this presentation included adapting, texture painting and rigging the 3D models and integrating the live Rokoko motion capture into the video design using Unity and Isadora.

Written and Directed by Leo Grierson

Media Design Leo Grierson and Timothy Kelly

Starring Leo Grierson and Jordan Embrack

Photos by Mark Williams

ive been through the desert on a horse with no name and all I got was this lousy t shirt

ive been through the desert on a horse with no name and all I got was this lousy t shirt

This piece comprises of the performer, a small goblin-type creature (a stock character named Doozy, from Adobe Mixamo) standing idly next to a campfire in a hilly terrain, which upon closer inspection is made of the same UV texture as himself; i.e. he stands in an environment made up of his own unwrapped flesh. Every time the viewer-participant triggers it, a radio (also skinned with this texture) falls from the sky at a random location around the performer and begins to play the song A Horse With No Name by America. Upon each radio drop, the performer reacts startled, and then commences a twist-style dance, which he continues until the next radio drop which restarts this sequence. Each radio dropped also increases the speed at which the performers movements happen.

READ MY ESSAY ON THE PIECE

GO ON, DO ONE OF YOUR FAMOUS BACKFLIPS

GO ON, DO ONE OF YOUR FAMOUS BACKFLIPS

Often, I like to do silly little bits to annoy my friends and colleagues (it’s a personality flaw I will not change) and one of my favourites is to constantly tell people to ‘do one of their famous backflips’ when I know full well they can’t.

In this project I’ve turned the tables on myself.

Rokoko motion capture of me trying to learn to do a backwards somersault, while another, better version of me does backflips from Adobe Mixamo stock animation.