Fethiye, Turkey 2025
Segment 1: Fethiye, Turkey - Magiscan Familiarity and Sussing Out the Concept
In the field of Virtual Reality (VR) art, the concept of amorphous structures presents an intriguing opportunity to explore emotional depth and immersion. An amorphous structure, by definition, lacks the rigid organization of crystalline forms and mimics the fluidity of liquid states. My VR practice, rooted in psychogeographies, mirrors these amorphous qualities. These fluid, liminal spaces provoke awe and emotional engagement, yet they are confined to limited settings-in situ, primarily my studio or private settings-where audiences can experience them only through VR headsets or video.
The concept of amorphous structures is central to my practice. Amorphous materials, such as cotton candy or certain liquids, are inherently irregular and fluid, qualities that mirror the emotional fluidity of my VR environments. As noted by Semsioglu et al. (2021), "amorphous structures, which lack rigid organization, can evoke deep emotional responses from users." My work, grounded in these principles, explores how irregular, fluid forms within VR can elicit powerful emotional reactions-emotional responses that, until now, have been confined to isolated, single-user experiences.
"Quince.--You may do it extempore, for it is nothing but roaring."--Midsummer Night's Dream, Act 1, Scene 2, Shakespeare An Ora4art 3D scan import of a quince fruit grown and scanned in Türkiye.
original music by Barry Chabala
Segment 2: Aberdeen - Standing Stone Scans Conducted
The idea for Amorphing Irregularities stems from my previous work in VR art, where I explored fluid emotional states and the creation of psychogeographic spaces. In my 2023-2024 research-creation project, Degrees of Once, I utilized 3D scanning and digital object imports, incorporating microscopic imagery to design immersive environments. These liminal spaces, coupled with interactive sound-and-light drawing using Open Brush, created dynamic, emotional experiences. However, the reach of these works is limited; they exist mostly in video form, which does not fully capture the immersive potential of the experience.
Tyrebagger Standing Stones
Tyrebagger Standing Stones
Snail scan
Standing Stone scan
Segment 3: Cove Park Residency
This project, Amorphing Irregularities, seeks to address the limitations of current VR dissemination methods by translating my VR psychogeographies into multiplayer experiences within game engines, specifically Unreal Engine. By crossing the boundary between Open Brush creation software and multiplayer VR environments, I aim to reach a wider audience, allowing more participants to engage with these emotionally charged spaces.
This project is timely because VR technology has evolved to a point where multiplayer interaction and the use of game engines like Unreal Engine can facilitate broader, shared experiences. The goal is to transcend the boundaries of private, headset-based encounters and offer a more dynamic and inclusive way for audiences to experience these immersive psychogeographies.
Cove Park, Scotland 2025
Segment 4: Dublin
The primary aim of Amorphing Irregularities is to research and develop ways to bridge the gap between VR software (Open Brush) and game engines (Unreal Engine), transforming individual VR experiences into multiplayer environments. This crossover will allow participants to explore psychogeographies collaboratively, enhancing the emotional depth and impact of the experience.
The project will not be focused on game development but rather on artistic exploration within game engine environments. Using Unreal Engine, I will experiment with integrating assets created in Open Brush, including interactive sound and light elements, into a multiplayer framework. These multiplayer environments will maintain the emotional fluidity and irregularity inherent in my psychogeographies while offering a more communal, shared experience.
Dublin, Ireland August 2025
