Senior lecturer and Creative Media Production Programme leader, Te Rewa o Puanga - the School of Music and Creative Media Production
Lucas Haley is an artist and educator, working across the media of video games, animation, film, creative technology, and installation art. His work examines the humorous and the sublime inherent in the relationship between ubiquitous virtual computing and actual embodied being. Haley leads the creative media production programme and primarily teaches into game design and the third year major projects.
Game design, game development, gamification, animation, virtual reality (VR), augmented reality (AR), mediated/mixed reality, Internet of Things, installation art, film and video, transgressive technology.
Distance Culling, 2015
This work explores the tensions between the virtual and the actual. A free-standing enclosure, the physicality of the work is strange and confounding. Blending into the white box of the gallery, it is large yet minimises itself. Inside is an assault of color and pattern, evoking the domestic and the body interior. A soft thud and ambient sound emanates from unseen speakers surrounding the tight space. A VR headset hangs on a hook, connected to an unseen terminal through umbilical wires from the ceiling. Putting the headset on, the participant experiences a vast monochromatic world, part game, part dreamscape. The headset tracks the participant’s physical hands, mirroring them inside the virtual world with disembodied, genderless hand sculptures that glitch in visceral ways. Reaching out to touch distant imagery, the participant’s virtual experience is constantly mitigated by the limited space of the physical environment.
Evoking the phone sex lines of the 1990s and modern instant commerce, this piece lures the participant in with the promise of titillation. During the course of participation the glitches within the technological system prompt the user to assume non-normal identities.
A video game with no video, Aumission leverages the mechanisms and standardised behaviour of video games to extend the gamic experience beyond the box into the gallery space. The lines between digitally constructed game and socially constructed gallery blur, with the player/participant “playing” the space.
This work examines the relationship between art, commerce, and the expectation of value through the lens of augmented reality and mobile computing. Participants explore and interact with virtual objects, objects that are procedurally generated by their mobile hardware, software, and usage.
BA (Reed College)
MFA (Pacific Northwest College of Art)
Association Internationale du Film d’Animation / International Animated Film Association (ASIFA)
International Game Developers Association (IDGA)
Society for Animation Studies (SAS)