I’m a practice-led researcher working on applications for immersive visualisation and experimental digital technologies to the preservation and interpretation of important cultural heritage sites, collections and museums. I'm interested in how we can use new media platforms to create new, embodied sensory experiences that allow us to understand heritage in innovative ways. I'm also interested in the mechanics of immersive design.
My background is originally in art history and museums, and I work closely with the GLAM sector on digital conservation, exhibition design and interaction design projects. I’ve been working since 2015 in the visualisation of particle accelerator data of paintings, using VR tech to allow audiences to explore scientific and archival information. My 2018 exhibition Henry VR at the Art Gallery of New South Wales, Sydney used VR technologies to not only communicate complicated scientific data to large audiences, but to enable conservators to analyse and interpret cultural material in new ways. Similarly, my 2017 exhibition Sidney Nolan’s Ned Kelly Unmasked: Virtual Reality allowed Heide Museum of Modern Art to communicate the social history of the Heide site and the significance of Nolan’s practice to Australian identity and mythology through the experimental installation. This project won the 2018 Museums and Galleries Australia National Award for Interpretation and Audience Engagement.
My current research concerns the use of real time, post cinematic techniques for immersive exhibitions, and I am currently working on two large museum exhibitions that use interactive narratives to explore important heritage materials.
My practice extends to immersive visualisation for archaeology and since 2017 I have led site digitisation on the excavation of the palace of the Roman Emperor Maximian Herculius in Sremska Mitrovica, Serbia, and have developed a modular immersive mapping system for cultural heritage site visualisation. In 2021 I will join an international team of archaeologists excavating a late Roman villa at Withington.
Prior to joining Coventry my practice was based at the University of New South Wales’ iCinema Centre for Interactive Cinema Research, one of the world's leading 3D visualisation laboratories. There I was lead 3D artist, overseeing visual and interactive content for immersive applications. I was also director of the Ultra High Resolution Scanning Lab. Before that I spent six years at the Art Gallery of New South Wales, the state fine arts museum in NSW, Australia, where I worked on exhibition and festival programming, interactive digital media, and curated two exhibitions.
Art History, Doctorate, University of Sydney
Art History and Theory, Degree, University of Sydney
Andrew Yip (Recipient), 2017
Prize: Prize (including medals and awards)