Willy Le Maitre

recent XR related projects are discussed in an artist profile in Creative Review, see here>>

Black Hole - White Hole , 2022/23; headset capture documentation of VR composed of cgi and rendered 3d stereoscopic A.I, 360 3d video.

Black Hole - White Hole is a diagram for the mirror merging of the two singularities; consciousness and event. Transpiring simultaneously in a cell, a body and a world; the VR fuses CGI with panoramic video to depict the inherent bias of perspectivism. Bursting through the surface tension that provides coherence to each successive panoramic milieu, the viewer's perspective moves from centred to dislodged.

WR: Once referred to as immersion, wearable reality explores the conditions of existence inside of images. Various scenarios have led us to situate lives within environments that are essentially images.

MIXED DOUBLES , 2019/21; Vive Pro system, photo fabric structure and objects.

A chamber where the WR takes place is visible from outside through a translucent scrim. The WR has a stereo camera pass through.
A sequence of cgi 'phenomena' transpires over a 5 minute interval. They occur in concert with the prop objects within the WR chamber. The
participant interacts with phenomena. Visitors can glimpse into the environment that is designed to alter the appearance of the participants body.

Clear Lake Archipelago , 2017-19, Vive system, Leap Motion sensor, video projector, purpose built screens and objects.

Clear Lake's surface represents a threshold barrier between physical and digital space. Stepping through projection screens into an inner chamber; a participant puts on a VR headset and finds themselves submerged in a liquid image; a 'below the surface' exploration of an archipelago made of models of our physical world. Their body inhabits a puppet whose face looks in and out; addressing them and the world with a whispered narration and circumstantial remarks . Other fluid like characters populate the islands. In ambiguous relations, the figure seems to control and be controlled by them. Moving closer, their surfaces act like lenses that encapsulate and distort the environment. On the islands, our inherent stereoscopic depth perception applies but looking into the distance everything appears paradoxically close. The islands are places of pedestrian nature, the figures act out motion captured gestures such as work, contemplation, public posturing- all of them characteristic for the given milieu of the models. In their sunken context, they appear as fossil-like artifacts of an actual physicality. This reflects reciprocally on spacial experience in our contemporary physical realm fused with metaphysical renderings of digital space.