CGI image of a sci-fi style landscape designed by the artist. To the left of the image is an enormous wall of rock is in the distance with an archway, through which can be seen further gigantic rock arches. The landscape is orange, like the orange of sunset or an atmosphere that's on fire.  To the right side of the image, closer to the front of the image, is an abstract green object, which could be a vehicle, shaped like a boat. At the back of the vehicle is an orange engine with wires and pipes leading to what might be a fueling station. At the front of the vehicle is a spider-like looking extrusion, above which floats a smoky sphere.
Clifford Sage, Tuner, 2019 (image still) – courtesy of the artist

Jamie Wyld (Vital Capacities’ director): Thanks for being part of the Vital Capacities residency programme! Can you say a little about yourself and your work, perhaps in relation to what you’re thinking about doing during the residency?

Clifford Sage: I’m Clifford, a CGI artist, currently working with moving image through animation and interactive worlds.  My work is often sound-based and audio generative.  I am interested in using game dynamics in my practice and the potential of virtual world building and non- linear narrative through story-telling. My hope is to use game mechanics to generate an immersive audio experience, utilizing and experimenting with alternate timelines. 

I am inspired by the possibilities of alternate histories and narratives through our worldly encounters, and curious to explore this open-mindedness by using a common non- linear story telling technique often used in gaming.  I am also passionate about environmental issues and am interested in exploring conservation through a technology- there is a juxtaposition between these two worlds and I’m interested in the challenges of experiencing nature and caring for nature through this unlikely lens. 

JW: One of the aims of Vital Capacities is to create an accessible site (so more people can use it) – how do you think this will be an opportunity to develop your way of working?

CS: I’m keen to see people interact more with my work, I think there is a lot of potential with interaction in virtual worlds which has yet to be explored beyond a computer game sense, its a format that can be very powerful and immersive, it can be used to express many different things we might experience through other means, like reading or watching a film. 

JW: What would you like to achieve through the residency? Is there a particular project you’ll be focusing on?

CS: The project I’ll be focusing on is a continuation of areas I’ve been focusing on for some time, I made a project called Tuner and an older project called Reincarnation Disorder and I’d like to revisit and somehow marry these two projects.

JW: How do you see the next few weeks unfolding? Where would you like it to take you?

CS: I tend to get excited by grand visions of a large scale project incorporating many works I’ve done in the past, though I know this won’t be possible to achieve in one month. I hope to focus on key aspects of sound integration, and an immersive environment that can be playable and interactive.  I find it fascinating that narratives can unfold in unexpected ways, and are different each time.  I think this is a really powerful way of interacting with a story and learning about the world, more specifically our audible worlds, and I hope that this residency allows me to start exploring the possibilities of this vast digital realm. 

Go to Clifford’s studio to see what he’s working on.

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