Amelia Scott

A new musical from Terra Bruce Productions featuring an epic story of love, loss and hope with incredible gospel and rock & roll music.

1955. Chicago. Father Paul Barry has left his home in Ireland to move to America, determined to help others. On the busy streets of the New World he encounters Dinah, an unforgettable jazz singer who leaves a lasting impression. We follow their journeys through an epic story of the 50s and 60s, filled with love, loss, and hope. With incredible gospel and rock & roll music, An American Hymnal is a stunning, original musical from Terra Bruce Productions premiering at The Majestic Theatre, before it tours to Theatre Aquarius in Hamilton, Ontario.

Creative and Production
Book by: Stephen Cochrane
Directed by: Courtney Brown
Music Director: Bill Brennan
Arrangements & Orchestrations: Mike Herriott
Choreographer: Victoria Wells-Smith
Dramaturge: Beau Dixon
Set Designer: Brian Dudkiewicz
Costume Designer: Sara Hodder
Lighting Designer: Leigh Ann Vardy
Projection Designer: Amelia Scott
Sound Designer: Kate De Lorme
Assistant Director: Kelly-Ann Evans
Stage Manager: Jaimie Tate
Assistant Stage Manager: Sophia Molnar
Assistant Stage Manager: Charlotte Peters
Production Manager: Brendan Agnew
Associate Producer: David Miller

Cast
Dinah: Ruth Acheampong
Ensemble: Dharma Bizier
Hazel: Kelly-Ann Evans
Floyd: Matthew Brown
Ensemble: Cecily Day
Jessa: Julia Dunne
Jake: Philip Goodridge
Mr. Boyko: Jared Hansen
Mrs. Boyko: Vicki Harnett
Ensemble: Dakota Jamal Wellman
Father Maloney: Marvin Kaye
Minnie: Jade Kimaya
Father Paul: Connor Lucas
Carter: Steve Maloney
Ensemble: Justan Myers
Matty: Melanie O’Brien
Ensemble: Adam Sergison

Le mot « féminicide » a fait son apparition dans les dictionnaires en 2019, 30 ans après qu’un jeune homme ait délibérément mis fin à la vie de 14 étudiantes de l’école Polytechnique, précisément parce qu’elles étaient des femmes. Sans autre raison.

Est-ce que d’autres mots manquent à notre vocabulaire pour comprendre comment la haine naît et se propage? À l’ère des algorithmes, de la désinformation et des médias sociaux, quels sont les concepts qui nous aideront à cerner la violence et à lutter contre elle?

Les comédiens et auteurs Jean-Marc Dalphond et Marie-Joanne Boucher mènent leur enquête et retournent toutes les pierres pour mesurer les conséquences du féminicide de la Polytechnique. Annabel Soutar et Alex Ivanovici les accompagnent à la dramaturgie.

Idéation et texte
Marie-Joanne Boucher et Jean-Marc Dalphond

Dramaturgie documentaire et collaboration au texte
Annabel Soutar et Alex Ivanovici

Mise en scène
Marie-Josée Bastien

Assistance à la mise en scène
Stéphanie Capistran-Lalonde

Collaboration au texte
Stephan Allard

Distribution
Stéphan Allard, Mustapha Aramis, Lamia Benhacine, Marie-Joanne Boucher, Jean-Marc Dalphond, Estelle Esse, Julie McInnes, Jules Ronfard, Cynthia Wu-Maheux

Scénographie
Marie-Renée Bourget-Harvey

Musique
Ludovic Bonnier

Lumière
Etienne Boucher

Costumes
Cynthia St-Gelais

Assistante au décor et aux accessoires
Marie McNicoll

Vidéo
Amelia Scott

Sonorisation
Philippe Robert

Direction technique
Normand Vincent

Direction de production
Line Noël, Xavier Inchauspé, Merissa Tordjman, Sandy Caron

Une création écoresponsable de Porte Parole en coproduction avec le Théâtre du Nouveau Monde, Diffusion Inter-Centres et Écoumène.

Commissioned by Crow’s Theatre, THE MASTER PLAN by Michael Healey is a biting satire about the stunning failure to build a smart city in Toronto. Adapted from award-winning writer and The Globe and Mail journalist Josh O’Kane’s best-selling book Sideways: The City Google Couldn’t Buy, THE MASTER PLAN lampoons the corporate drama, epic personalities, and iconic Canadian figures involved in the messy affair between Sidewalk Labs and Waterfront Toronto.

ALL PHOTOS BY DAHLIA KATZ

CAST
Christopher Allen - Cam Malagaam, Designer, Sidewalk Labs
Ben Carlson - Will Fleissig, CEO, Waterfront Toronto
Philippa Domville - Meg Davis, Chief Development Officer, Waterfront Toronto
Peter Fernandes - ...
Tara Nicodemo - Kristina Verner, Vice President, Strategic Policy and Innovation, Waterfront Toronto
Yanna McIntosh - Helen Burstyn, Board Chair, Waterfront Toronto
Mike Shara - Dan Doctoroff, CEO, Sidewalk Labs

CREATIVE
Michael Healey - Playwright
Chris Abraham - Director
Josh O'Kane - Author, Sideways: The City Google Couldn't Buy
Joshua Quinlan - Set and Props Designer
Ming Wong - Costume Designer
Kimberly Purtell - Lighting Designer
Thomas Ryder Payne - Sound Designer
Amelia Scott - Video Designer
William Dao - Assistant Director
Lisa Nighswander - Head of Props
Kathleen Johnston - Head of Wardrobe
Jennifer Parr - Stage Manager
Maya Bowers - Assistant Stage Manager

LOVE TEXT is a street art video projection experience - a compelling story that explores LGBTQ2S+ love in the digital world. Participate as ‘voyeur’ by watching audio-visual vignettes unfold on the side of a building in London’s downtown core or step into the dating booth to ‘go on a date’ with Love Text’s Amanda to explore the humanity of digital dating.

Writer & Actor - Amanda Cordner
Director - Jay Northcott
Artistic Producer, Production Manager, Sound Designer - Daniel Bennett
Projection Designer - Amelia Scott
Social Media & Digital Design - Mallory Brown

Un production de Nervous Hunter, présenté par Théâtre aux Écuries

Trois femmes d’origine chinoise se réunissent autour d’une œuvre créée par l’une des leurs : l’adaptation de la pièce Les Bonnes de Jean Genet. Ensemble, elles parlent sans complexe de leur enfance, de leur rapport amour-haine à la blancheur, de la colonisation de leur esprit, mais tout autant de la télévision chinoise, de la sauce chili, des rituels… et du best-seller Crazy Rich Asians. Elles discutent de l’évolution de leurs sentiments quant à leur identité chinoise; de la honte à la fierté en passant par une profonde inquiétude, en particulier dans un monde où la puissance financière et politique de la Chine ne cesse de croître. Elles font aussi un gros doigt d’honneur à tous ceux et celles qui se moquaient de l’odeur de leurs lunchs à l’école.

Texte Sophie Gee et Tamara Nguyen
Mise en scène Sophie Gee
Assistant à la mise en scène et régisseur Chad Dembski
Distribution Sophie Gee , Charo Foo Tai Wei et Meilie Ng
Enregistrements additionnels France Rolland, Eric Leong
Conseil dramaturgique Sasha Dion via le Centre des auteurs dramatiques
Direction technique Pierre Tripard
Direction de production Myriam Poirier Dumaine
Son Christine ML Lee
Prise de son Elena Stoodley
Éclairages Nine Desbaillet
Projections Amelia Scott
Costumes Jessica Poirier-Chang
Assistance aux costumes Margarita Brodie et Claudelle Dextraze
Coupe et couture Jez Yung, Vita Nikitenko Maéva Bouchard de l’Atelier-M-Costume
Scénographie Maryanna Chan
Mentor scénographie Eo Sharp
Consultantes artistiques et culturelles pour la première phase de création Angie Cheng, Winnie Ho et Claudia Chan Tak
Éclairages pour la première phase de création Maya Jarvis
Conseil dramaturgique pour la première phase de création Marilou Craft

Written and Performed by: Matthew MacKenzie and Mariya Khomutova

Directed by: Lianna Makuch

Set/Lighting Design by: Daniela Masellis

Projection Design by: Amelia Scott

Composition by: Daraba

Sound Design by: Aaron Macri

Choreographed by: Krista Lin

Stage Managed by: Lore Green

Rehearsals Stage Managed by: Kiidra Duhault

Production Managed & Technical Directed by: Trent Crosby

Design Consultation & Scenic Artwork by: Dawn Marie Marchand

Beadwork by: Maria Nelson & Krista Leddy

Dramaturgy by: Matt McGeachy

Produced by: Sheiny Satanove

Associate Produced by: Alyson Dicey

Associate Produced by: desirée leverenz

Head Scenic Painting by: Emily Randall

Painting by: Amy Powell

Drape Stitching by: Theatre Garage

Fabrication by: art lab

CREATED BY THE PRECURSOR LAB

A live animation experience combining low-fi overhead projections and shadow puppetry performed alongside the Vancouver Symphony Orchestra’s playing of Sergei Prokofiev’s romantic score.

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In my usual design work of creating projections for live performances, the projections often serve as an augmentation on top of the live performers and other set elements. For this creation, projections are the entire focus of the performance. The live performers use their bodies to cast shadows, so even those performances become part of the image. Your body becomes reduced to a 2D silhouette, so you use your body differently to convey emotion. It makes the relationship between animation, puppetry, and physical performance very apparent.

The performers act in a more stylized way, just as the other visual effects become more physical. For this performance it sometimes takes six people moving multiple layers of images in synchronization across four projectors to create one animated sequence. Even without the presence of a live silhouette, every image is a performance in itself. It has been a unique opportunity to explore a style of live performance that is entirely visual, driven by projection while still retaining the gesture and craft of live theatre.
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Amelia Scott - Co-creator

Wladimiro A. Woyno R. - Co-creator

Brian Postalian - Collaborator, Dramaturg, Producer
Katayoon Yousefbigloo - Associate Collaborator
Montserrat Videla Samper - Associate Collaborator
Tobias Macfarlane - Associate Collaborator
Jack Chipman - Associate Collaborator
Megan Lane - Associate Collaborator
June Hsu - Associate Collaborator

Pyretic Productions

My projections for this play were an ever-shifting landscape of textures and colours. They are an externalization of Alina’s subconscious as her experiences of combat blur her memory and reality into one waking nightmare.
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Alina is inspired by the true experiences of a 19-year-old volunteer Ukrainian combat medic who leaves everything behind to go to the front line of one of the deadliest battles of the war in Eastern Ukraine in 2015 — the battle for the Donetsk Airport. But it is when she returns home to the shock of “peaceful” civilian life that she realizes her struggle does not end at the front.

Alina is an exhilarating, breathless journey toward and away from war.

In Feb 2020, Pyretic participated in an inspiring artistic residency at IZOLYATSIA Institute in Kyiv, Ukraine. We conducted in-depth interviews with a young woman named Alina Viatkina about her remarkable experience as a volunteer frontline combat medic in 2015. Being a 19-year-old young woman, Alina was unable to join either the official military or volunteer battalions. In spite of this, she posed as a journalist and independently made her way to the war zone.

Written by Lianna Makuch
Directed by Patrick Lundeen
Movement Direction by Amber Borotsik
Dramaturgy by Matthew MacKenzie
Production Design by Stephanie Bahniuk
Electronic Composition by Noor Dean Musani
Video Design by Amelia Scott
Sound Design by Aaron Macri
Stage Management by Lore Green
Produced by Sheiny Satanove
Outreach Coordinator & Associate Producer – Mel Bahniuk
Production Management & Technical Direction – Chris Kavanagh & Simon Wicks
Head Carpenter – Will Chichak
Emily Randall – Scenic Painter
Andrée Simard – Production Assistant

Août 1977. La NASA lance les deux sondes Voyager pour scruter Jupiter, Saturne et autres confins du système solaire – ensuite, elles pourront bien continuer à filer dans l’espace, même quand la Terre aura disparu… Or, sur le flanc des sondes, l’astrophysicien Carl Sagan a tenu à placer un disque recouvert d’or qui condense les informations essentielles sur l’humanité, le Golden Record, dans l’éventualité où Voyager croiserait des formes de vie intelligentes. Ce portrait de l’aventure humaine, témoignage idéaliste d’une humanité idéalisée, comment l’a-t-on créé ? Selon quels critères ?

Reprenant ici la réflexion de Carl Sagan et son équipe lors de l’aventure du Golden Record envoyé dans l’espace en 1977, ce spectacle de science réalité réfléchit à cette propension qu’ont les Humains à s’archiver et envoyer dans le futur des morceaux d’intime, de sens.

Using a mixture of NASA footage and live cameras on stage, I explored the use of video to create a living archive.

Un spectacle de La Messe Basse
Festival TransAmériques 2021
Idéation, texte et mise en scène: Maxime Carbonneau + Laurence Dauphinais

Interprétation: Robin-Joël Cool + Karine Gonthier-Hyndman + Leila Donabelle Kaze + Olivier Morin + Gabriel Szabo
Assistance à la mise en scène et sonorisation: Jean Gaudreau
Conseil dramaturgique: Julie-Michèle Morin
Regard artistique: Dany Boudreault
Lumières: Julie Basse
Scénographie: Max-Otto Fauteux
Vidéo: Amelia Scott
Musique: Navet Confit
Costumes: Marie-Chantale Vaillancourt
Accessoires: Julie Measroch
Conception maquillage et coiffure: Justine Denoncourt-Bélanger
Technique vidéo: Dominique Hawry
Direction de production: Emanuelle Kirouac-Sanche + Maude St-Pierre
Direction technique: Maude St-Pierre
Aide à la production: Delphine Rochefort
Régie vidéo: Florence Blais-Thivierge
Coaching vocal: Myëlle

Adapted from the Governor General award-winning children’s story by Kyo Maclear
Adaptation by Cole Lewis

Virginia is in a “wolfish” mood — growling, howling, and acting very strange. It’s a funk so fierce, the whole household feels topsy-turvy. Her sister Vanessa tries everything she can think of to cheer her up, but nothing seems to work. Then Virginia tells her about an imaginary, perfect place called Bloomsberry. Armed with an idea, Vanessa begins to paint the bedroom walls, transforming them into a beautiful garden complete with a ladder and swing. So that what was down could climb up. Before long, Virginia, too, has picked up a brush and undergoes a surprising transformation of her own.

For this project, I created hand drawn illustrations and rotoscoped animation to transform Virginia’s bedroom into the vibrant world of Bloomsberry. This play was presented as a filmed performance, streamed online. Projections filled the room and animations were composited into the foreground, immersing the characters in this imaginative, playful space.

Geordie Theatre May 2021

Director: Mike Payette
Assistant Director: Murdoch Schon
Cast: Jennifer Roberts as Virginia, Alexandra Laferriere as Vanessa
Set and Costume Design: Brian Dudkiewicz
Sound Design: Sam Ferguson
Projection Design: Amelia Scott

Written by Hanna Cormick

Focusing on the body as the central subject, in this short film, I projected hand painted animation and chemical textures to transform the performer’s skin into a canvas for climate activism, disaster, and illness.

Created as part of Imago Theatre’s Eco Anxiety Online Festival. Originally aired November 2020 and February 2021.

Canary has also appeared in the I Dance film festival in Australia. The free festival was created by Australian and International artists with disability for the 2020 International Day of People with Disabilities, and co-curated by Canary playwright Hanna Cormick.

Cast: Julie Trépanier

Creative Team:
Andrew Andreoli (Director of Photography)
Cristina Cugliandro (Director)
Danna-Rae Evasiuk (Lighting Designer)
Amelia Scott (Projection Designer)
Evan Stepanian (Sound Designer)
Diana Uribe (Environment Consultant)

Video Design

Written by Alex Ivanovici, Annabel Soutar, and Brett Watson
Directed by Chris Abraham
Co-Video Designer: Guillaume Arseneault
Lighting Design by Luc Prairie
Sound Design by Antoine Bédard
Wardrobe by Dominique Coughlin
Porte Parole, 2018

Photos by Maxime Côté

Since 2017, the play’s creative team has been curating and recording encounters in which four strangers of wildly different ideological leanings face off and collectively confront the issues that most divide them.

L’Assemblée – Montréal includes a different cast, characters and script than The Assembly – Montreal.

Talisman Theatre presented at Théâtre La Chapelle November 2020

Metteure en scène / Director: Sophie Gee

Actrices / Actors: Chadia Kikondjo, Aida Sabra, Lesly Velazquez, Emilee Veluz et France Rolland (voix/voice)

Autrices / Authors: Hoda Adra et Kalale Dalton

Dramaturge / Playwright: Josiane Dulong Sauvignac

Choreography: Claudia Chan Tak

Conception décor / Scenographer: Lyne Paquette

Conception costume / Costume designer: Sophie El-Assaad

Conception éclairage / Lighting design: Leticia Hamaoui

Conception sonore / Sound design: Maria Elena Stoodley

Conception video / Video designer: Amelia Scott

Régisseuse / Stage manager: Alessandra Tom

Directrice de production / Production director: Emmanuelle Brousseau

Directrice technique / Technical director: Sophie Bergeron

Assistance scénographie / Scenography assistance: Zoe Roux

Traductrice / Traducteur / Translators: Gabrielle Chapdelaine et Simon Brown

Photos by Maxime Côté

Video Designer

Direction and Choreography by Shay Kuebler
Lighting Design by Rob Sondergaard
Costume Design by Christopher Gauthier
Video Design by Amelia Scott and Eric Chad
Sound Design by Kate DeLorme

Radical System Art
May 2019

Projection Designer

Written by Sheri-D Wilson
Directed by Trevor Schmidt
Production Design by Trevor Schmidt
Lighting Design by Sandi Somers
Sound Design by Peter Moller
Shawna Burnett - Performer
Nancy McAlear - Performer

Handsome Alice Theatre
April 2019

Photos by Citrus Photography

Concepteur des images/Co-Creator

Devised by Michel Lefebvre, Jeremy Segal, Martin Sirois, and Amelia Scott
Written and Performed by Michel Lefebvre
Lighting Design by Martin Sirois
Video Design by Amelia Scott and Jeremy Michael Segal
Sound Design and Composition by Sarah Magnan

Youtheatre, March 2019

Photos by Dylan Sheper

a Project: Humanity and Crow's Theatre production
in collaboration with Dr. Kathleen Gallagher

Co-directed by Chris Abraham and Andrew Kushnir
Set, Costume & Lighting Design by Ken MacKenzie
Music Composition and Sound Design by Deanna Choi
Video Design & Tech by Amelia Scott
Dialect Design by Eric Armstrong
Stage Managed by Sarah Miller
Apprentice Stage Manager Karli Feldman
Assistant Director Natasha Greenblatt

Photos by Aleksandar Antonijevic

As democracies thin out all over the world, is there a radical hope to be found in the humble high school drama classroom? Dr. Kathleen Gallagher has spent her life researching young people and how drama affords a rare window onto their experiences, anxieties and dreams. Written by award-winning documentary theatremaker Andrew Kushnir, Towards Youth brings Kathleen’s timely work to the stage, and reveals startling truths about youth culture in England, Greece, India, Taiwan and Canada. Exploring Brexit to Trump to growing up in times of austerity, this new play envisions drama kids across the globe as more than the canaries in the coalmine. While helping us to understand how they’re shouldering this world they've inherited, can young people teach us all a better way forward?

Projection Designer

The In-Between by Marcus Youssef
Directed by Mike Payette
Assistant Direction by Diane Ntibarikure
Set and Costume Design by Diana Uribe
Lighting Design by Tim Rodriguez
Sound Design by Rob Denton
Geordie Theatre, 2018

Today, everyone has a device through which they are capturing their point of view and sharing it online. There are eyes everywhere and many bystanders.

Mimicking devices and interfaces, in this production, I took the traditional backdrop and fragmented it to show multiple perspectives of the same location and conflict. The screens became portholes through which we could experience the digital lives of the characters on stage, and an embodiment of characters we never see.

This design used a combination of new footage and animation, as well as a collage of memes and viral videos that echo real arguments and events that fuel this play.

Projection Design

Speculation by Leslie Ting
Directed by Alex Bulmer and Tristan R. Whiston
Lighting Design by Angeline St. Amour (June 2018), Patrick Lavender (December 2018)
Presented by Ottawa Chamber Festival, June 2018
The Music Gallery (Toronto), December 2018

My design for this project was a simulation using light and projection to interpret the experience of vision loss. It was opportunity to develop an entirely new process to projection design: a process that is not focused on the final image, but is instead creating atmosphere, shape, space, and distortion. It is not very often that I have the opportunity to rethink the medium with which I work. And it is rare that the medium of projection, a medium based in delicate optics and minute sensitivity, is so harmonious with the subject and story at the heart of a performance. This project was an extremely enriching experience in my design practice and I look forward to further exploration of these ideas as we continue to present this work.

Projection Design

The Magic Flute
Composed by Wolfgang Amadeus Mozart
Directed by Michael Cavanagh
Set Design by Terry Gunvordahl
Lighting Design by Stephanie Bahniuk
Opera Nuova, June 2018

This production of The Magic Flute was set in the Arctic. My design captured the beauty of harsh Northern landscapes, as well as the magic and mysticism of long, dark winters that give way to light and glorious spring.

Projection Design

Nomadic Tempest
Written and Directed by Paul Kirby
Co-Projection Designer: Jordan Lloyd Watkins
Caravan Stage Company, Salish Sea Tour 2018

Nomadic Tempest is an experimental circus/rock opera performed aboard the Amara Zee, a 90’ tall ship.

My projection design for Nomadic Tempest presented the majesty and spirituality of the Salish Sea, the magic of monarch butterflies, and the iridescent devastation of oil and pollution.

Projection Designer
2018 Betty Mitchell Award Nominee, Outstanding Projection Design

To The Light by Evelyne de la Chenelière
Translated by John Murrell
Directed by Vanessa Porteous
Set and Lighting Design by Narda McCarrol
Costume Design by Hanne Loosen
Sound Design by Peter Moller
Sound Design and Composition by Bryce Kulak
Alberta Theatre Projects, October 2017

“Evolution should be seen as the expression of an enduring life force.” -Henri Burgson

Inspired by the work of Henri Burgson, the projections in To The Light evoked a sense of geological time: a view removed from the individual in which nature persists beyond the time scale of human existence. The projections appeared in interludes of the play, accompanied by pianist Bryce Kulak performing excerpts of Debussy. These interludes served as a zoom out from the story to provide space for contemplation before diving back in, confronted with a new embodiment of time: Present Indicative, Future Perfect, and Conditional Voice.

Projection Design
2017 Betty Mitchell Award Winner, Outstanding Projection Design

Crime Does Not Pay by David Rhymer and Kris Demeanor
Directed by Simon Mallett
Illustrations by Tyler Jenkins
Set Design by Anton DeGroot
Lighting Design and Associate Set Design by Alison Yanota
Costume Design by Dietra Kalyn
Downstage Theatre, March 2017

Projection Designer

Parade by Alfred Uhry and Jason Robert Brown
Directed by Kim Mattice Wanat
Set and Lighting Design by Terry Gunvordahl
Opera Nuova, June 2016

Projection Designer
2016 Betty Mitchell Award Nominee, Outstanding Projection Design

Cockroach by Jonathan Garfinkle
Directed by Vanessa Porteous
Co-Projection Designer: Joel Adria
Set and Costume Design by Narda McCarrol
Lighting Design by Anton DeGroot
Sound Design by Alexander McSween
Alberta Theatre Projects, March 2016

Projection Designer
(Student Production)

Prey by Britney Tangedal
Directed by Ann Hodges
Set Design by Coral Coughlan
Costume Design by Léa Robertson
Lighting Design by Brian Kenny
Sound Design by Nic Timmenga
The National Theatre School of Canada
New Words Festival 2014

Nova: Digital Parachute
Interactive Digital Installation
Created by Amelia Scott and Joel Adria
Presented at Nuit Blanche Edmonton: Petit Nuit 2016 and Beakerhead 2017

Remember those parachutes you played with in elementary school gym class? Nova, the digital parachute captures the essence of this quintessential childhood experience, but with some 21st century electronic fun! Children, the young at heart, and those looking to re-discover their inner child are invited to come together and celebrate the night under our e-textile canopy of stars.

Participants are welcomed into the parachute circle and guided through a series of parachute games to unlock the magical potential of this interactive LED canvas. Accelerometers sewn into the parachutes handles generate light patterns based on each participant’s unique movements. Small ripples create mesmerizing effects, and larger synchronized waves can trigger a more spectacular Nova effect! Everyone’s movements bring this parachute to life, and working together is rewarded by unlocking dazzling light patterns when the team is in sync.

The gentle lift and fall of the 24’ parachute is made even more wonderful with an underbelly of LEDs that twinkle like stars when the parachute is lifted overhead and experienced from underneath. Nova ties into feelings of childhood joy and wonder, inviting the public to group together and play.

Flora: Digital Greenhouse
Interactive Digital Installation
Created by Amelia Scott and Joel Adria
Presented at Beakerhead 2015, Nuit Blanche Edmonton 2015, and UCalgaryStrong Festival 2016

Flora is a pop-up digital greenhouse: a conservatory of alien flora. Leave reality at the door and enter a new ecosystem where nature and technology have become one. The digital greenhouse is a world contained, waiting to be discovered. Get curious and explore this interactive garden of light and sound or relax, allow your senses to wander, and let the plants discover you.

Under the name VJ Mononym, I have performed at various events in Calgary, creating visuals for some of Western Canada’s most esteemed DJs such as Overland, Essette, Jah Raven, and Kafka. I strive to create a dynamic experience that shifts and flows with the music, creating an immersive environment while keeping it dark.