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

Better Music TVCs
3D animated stills TVC for Better Music. Produced with Screencraft Media commissioned by Inklab.
2013
Advertising, Branding, Writing
Canberra Guide Video
How does the the Canberra Guide app work? Here's how!
2013
Creative Direction, Storyboarding, Writing
Canberra Labor Club TVCs
TVCs to advertise one of the biggest prizes in Canberra history.
2013
Advertising, Branding, Writing
AAA TVC
National TVC for the Australian Automobile Association. Produced with Screencraft Media commissioned by Cre8ive.
2013
Advertising, Creative Direction, Film
Augmenting WINIFRED
WIP of an Augmented Reality adaptation of my Winifred stories. This will expand as the experiment/ project continues.
2015
Creative Direction, Digital Art, Interaction Design
Digital Puppet: Bob
Digital Puppet powered by Adobe Character Animator
2017
Animation, Character Design, Illustration,
WINIFRED
Sam Maher offers you a sneak peak of an old story she's revisiting with illustrations... introducing 'Winifred'
2012
Drawing, Illustration, Writing
TILLY CHARACTER DOLLS
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.
2012
Character Design, Crafts, Toy Design
ACTTAB TVC
The Mark Agency commissioned me to produce a 30 sec TVC for ACTTAB to announce their New Online Betting facility.
2013
Creative Direction, Storyboarding, Writing
Trade Secret Web Content
4 online videos for social media.
2013
Advertising, Directing, Set Design
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