In 2016 I was grateful for the opportunity to hang some pieces in one of my favourite galleries in Australia, Altenburg & Co coincidently located in a town I often call home: Braidwood. 
My aim for the show was to engage with my potential new audience, get some feedback at targeted events, and to test technology requirements and feasibility of interactive entertainment and illustration reaching mass adoption in locations compromised by poor connectivity. 
For this show, a group show with Melanie Cansell and Steve Maher, I managed to showhow:
Finish 120 pieces, frame and hung them in 30 days.
Encode 40 pieces with interactive features 
Publish 12 augmented reality experiences.
Braidwood experiences were hugely impacted by lack of network connectivity and mobile data limitations. 
Telstra customers experienced lag and latency at 3 times that reported by Optus customers. 
I then tested the same pieces elsewhere, my favourite finding:  
Canberra audiences embraced the technology with 6.3 scans per unique user compared to 1.7 in Braidwood.
Canberra audiences spent on average 2 minutes per experience compared to Braidwood average 7 minutes per experience. 
Canberra audiences engaged* at more than 400% more per scan than audiences in Braidwood.
*I'm funny about engagement measurement and determine engagement success equal to the commercial metric it is measured against. In this instance I wanted to understand how a scan converted to commission revenues, which is a tough and specific metric. I do measure impressions, interactions, click through, touch points and other standard benchmarks but rarely find this kind of data useful.  
The show was opened by Cindy Pastel, the original Drag Muse and inspiration for 'Priscilla Queen of the Desert', a short video (above) was made again using some new AI tech tricks and hacks I wanted to test, no editor, no post, not perfect, but better than the test before. II did publish an augmented reality experience using LAYAR that was live until July 2017. I loved LAYAR as an augmented reality platform, but they have been acquired by BlippAR. So far I'm not enjoying any platform as much as LAYAR. If I republish somewhere I'll update this page!

Other Projects

Sam Maher offers you a sneak peak of an old story she's revisiting with illustrations... introducing 'Winifred'
Drawing, Illustration, Writing
Sam Maher's Dorothy Doll a homage to Dorothy Parker
Character Design, Crafts, Toy Design
Vikings TVCs
One of a series of TVCs for the Vikings Group. Produced with Screencraft Media, commissioned by Zoo Advertising.
Advertising, Creative Direction, Film
Canberra Guide Video
How does the the Canberra Guide app work? Here's how!
Creative Direction, Storyboarding, Writing
Weet-Bix TVC
30 sec spot for Sanitarium Weet-Bix
Advertising, Branding, Film
Better Music TVCs
3D animated stills TVC for Better Music. Produced with Screencraft Media commissioned by Inklab.
Advertising, Branding, Writing
National TVC for the Australian Automobile Association. Produced with Screencraft Media commissioned by Cre8ive.
Advertising, Creative Direction, Film
Knitted and crochet dolls from 100% new wool (new reclaimed and end of line tapestry wools) with vintage lace and embroidered doily dresses. Each one unique and handmade in Australia.
Character Design, Crafts, Toy Design
ICONOCLASH is a series in development. The series consists of short-form animated content pieces, that will be assembled fit-for-purpose, for broadcast, narrowcast, social, online and mobile, digital out of home, augmented reality and interactive print applications.
Character Design, Digital Art, Animation,
Master Builders Association TVCs and Web Video
A series of TVCs and a web video for the Master Builders Association. Produced with Screencraft Media. Talent - Graham Gall and the delightful staff and students at the MBA (ACT)
Advertising, Directing, Writing
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