The entertainment design industry takes heart, and Luis “Foker” Perez has just that. A lighting designer in Monterrey, Mexico, Perez has stayed with the industry despite an accident in 1996 when, at age 25, Perez received 10,000 volts of electricity. In his words, his heart survived but his hands did not. Perez now uses a prosthetic arm on the left and can no longer move the right. Perez continued on, delving deeper into the world of design, in which he has lit nightclubs and shows, including the band Panda at Auditorio Nacional, Arena Monterrey, and Palacio de los Deportes in Mexico City. He recently worked on Hellow Festival in Parque Fundidora in Monterrey as well as designing, installing, and programming a 3D matrix LED tube in a club. Live Design caught up with Perez after a festival.
1. Can you please describe your accident in 1996?
I describe it like a wipeout in surfing, confusing and violent, an estranged mix between peace and pain. It was an outdoor show near Cuernavaca, Mexico. It was our fifth back-to-back show; barely slept, ate or, rested. I was tiding down the ground support with steel wire rope, and it was a high voltage tower—you know those big towers with that buzzing sound—near the stage on a safety range according to me. Suddenly, an arc of electricity jumped to the wire rope I was holding, and someone pressed the blackout button on me. I remember being on a white, floating cloud in complete calm and happiness but something or someone had different plans for me. After two-and-a-half minutes, I woke up, and I was like “Come on, it was nice back there. Take me back” and they didn’t, so here I am.
2. How do you overcome this hardship? How have you had to adapt your career as a lighting designer?
It’s not really that complicated as most of people might think. I miss rigging and being up there, of course, but I started to concentrate on design. When I was a light tech and I was watching a show, I was like “Really? Are you using pink and green on that scene?” So I decided start doing it myself.
3. Can you please describe your design for Panda’s concert in Mexico City back in May?
We had three truss circles in the center—27', 18', and 9'—where I rigged a bunch of [Clay Paky] Sharpy Beams. It is amazing what you can do with only move, pan, and tilt. I rigged another two 12' circles with [Martin Professional] Mac 101s controlled by DMX intelligent speed motors on each side of the upstage and six 30' stand-up towers with [Martin] Mac Aura, Sharpy, [Martin] Atomic 3000 DMX, and Cue Pix from Elation Professional. Also I used two Sharpys at the end of five different trusses on the stage.
4. What are your thoughts on the trend towards LED?
LEDs are like the internet: They here to stay. I’m of the old guard who loves the warm beauty of a bulb so I spend much time recreating that mood with LEDs, and I love it.
5. What do you think is the most important lesson you’ve learned in the entertainment design industry?
I enjoy watching the faces in the audience during a show. They give me energy and inspiration. I learn to please them instead of the production manager or the band. After all, we are doing this for them.