Some projects are difficult to show with a single image.
Not because there are not enough images, but because the real thing happens somewhere between image, space and people.
Night in the Hills was exactly that kind of project.
It was an immersive ball where projections were not just a background for the event. They became part of the event itself. The hall transformed into a sequence of visual worlds: a luminous stained-glass space, an enchanted forest, a cosmic dissolution. The guests were not only watching the image. They were moving inside it, dancing through light and shadow, becoming part of the visual world.
Around four hours of video content were created for the project, using fourteen projectors. But numbers do not really explain what mattered most. The important thing was not only the scale or the technical complexity. The important thing was that the space stopped being just a hall. It began to feel alive.
I am especially interested in those moments when an image leaves the frame. When it stops being a flat picture and becomes an environment. In cinema, the viewer looks at the screen. In projection mapping, the image animates architecture. In fulldome cinema, it surrounds the viewer. But in an immersive ball, another layer appears: the viewer enters the image and changes its meaning simply by being there.
This is a strange and delicate thing. Without people, the projection would be only a visual environment. Without projections, the guests would be only participants of a ball. Together, they create a third state: a space where image, movement, music and presence become one event.
Perhaps this is what interests me most: not just creating visual images, but building worlds that people can enter.
Project: Night in the Hills
Format: immersive ball / projection environment / visual performance
Technologies: projection, AI-assisted imagery, video content, spatial storytelling
Scale: 14 projectors, around 4 hours of video content