Visual artist Craig Winslow presents the DSE + LDI Crossover Keynote Lunch: Illuminating Creativity: Infusing Playfulness in Tech-Driven Experiences on Sunday, December 8 (12:30-2pm).
How can a playful approach drive innovation in immersive technology? Visual artist and designer Craig Winslow explores the importance of infusing creative curiosity and joy into Winslow Studio's immersive projection projects, which combine art and technology. Through personal stories, challenges, and triumphs, he reveals how a playful mindset can lead to breakthroughs, surprise, and inspiration, even in the most tech-heavy environments. Attendees will discover how embracing play can unlock creativity while keeping the human spirit at the center of digital experiences. This keynote and lunch are open to LDI VIP badges or can be purchased à la carte at LDI registration at ldishow.com.
Live Design chats with this immersive artist, Craig Winslow about his career and his interest in ghost signs, as well as his advice for the next generation...
Live Design: How did you get interested in light and visual design?
Craig Winslow: Early on in my career I became an industrial designer after studying graphic design and 3D animation. Growing up in the early days of the internet and playing video games, I’ve always loved the idea of blending our digital and physical worlds. As I started seeing large-scale projection installations on buildings around 2010, I instantly knew it was a medium I wanted to explore. I’m inspired by legends like James Turrell, Dan Flavin, and Jenny Holzer, who use light as a medium which they sculpt. Seeing the work of Mr. Beam, teamLab, Nonotak, and Joanie LeMercier, really inspired me to go for it and start making light-based art.
LD: And in immersive experiences?
CW: It was a natural next step to envelop someone in light! We’re so focused on singular screen experiences in our phones, on tablets, and TV, that it’s such a privilege anytime I can create something that extends a viewer’s peripheral vision. Growing up I always loved making haunted houses every year with my friends, so it also feels like a bit of personal nostalgia when I can help craft a multi-sensory experience.
Craig Winslow: Early on in my career I became an industrial designer after studying graphic design and 3D animation. Growing up in the early days of the internet and playing video games, I’ve always loved the idea of blending our digital and physical worlds. As I started seeing large-scale projection installations on buildings around 2010, I instantly knew it was a medium I wanted to explore. I’m inspired by legends like James Turrell, Dan Flavin, and Jenny Holzer, who use light as a medium which they sculpt. Seeing the work of Mr. Beam, teamLab, Nonotak, and Joanie LeMercier, really inspired me to go for it and start making light-based art.
LD: And in immersive experiences?
CW: It was a natural next step to envelop someone in light! We’re so focused on singular screen experiences in our phones, on tablets, and TV, that it’s such a privilege anytime I can create something that extends a viewer’s peripheral vision. Growing up I always loved making haunted houses every year with my friends, so it also feels like a bit of personal nostalgia when I can help craft a multi-sensory experience.
LD: Can you talk about Brilliant! at the Neon Museum, what's going on there in terms of technology and artistically?
CW: Brilliant! is a 360-degree audiovisual experience that brings to life old neon signs through projection mapping and spatialized 3D sound. Our incredibly precise mapping is enabled through structured light scanning, and I created the show visuals using Illustrator, After Effects, and Premiere Pro across eight synced output timelines. Custom software in Open Frameworks helped to make complex swirling animations across thousands of bulbs and neon tubes. I also designed two custom enclosure towers built by YESCO that house all of the technology. I’m really proud that this outdoor Las Vegas art + tech spectacle has been running for almost seven years now.
Artistically, from its inception, I loved the concept of building a time machine in Las Vegas that magically brought these nostalgic relics back to life to compete for your attention once again. Seemingly against all odds, these signs flicker back to life and tell a playful, deeply nostalgic, and emotional narrative. The latest ‘Jackpot’ update (2022) introduced three new thematic variations, randomly triggered on each visit. By far my favorite thing about this project is seeing its impact on locals and guests who visited these casinos in their hey day. It’s fully aligned with my ultimate creative goal: to move people with my work.
LD: What fascinates you about the Light Capsules/ghost signs?
CW: These old fading ads and signs, hand painted by skilled craftsmen over 100 years ago, can be seen everywhere yet in recent years have been more frequently destroyed or painted over. My ongoing Light Capsules series explores using projection as a restorative method to reveal these layers of time and give them the attention and protection they deserve. This non-damaging technique which I refer to as ‘augmented restoration’ is so exciting to me because it retains the worn paint during the day, but at night can reveal what they used to look like and attract the curiosity of visitors to less frequented areas. Lately I’ve been making simpler, energy efficient, robust solutions, working with gobo-manufacturer Rosco to refine methods for ultra-precise gobo mapping and gobo blending in these permanent applications. I’m always excited about the next Light Capsule, wherever it may be, and hope the project encourages people to look up and be curious about the history hidden in plain sight around them.
LD: What is the most challenging project you have worked on and why/how?
CW: 'Pathways of Pursuit’ was a really rewarding challenge of creating an art installation for a cancer center’s gala. Due to the powerful and serious nature of the content, we wanted to make sure we struck a delicate balance of a vibrant joyful experience, while maintaining a serious and informative journey we told across three interweaved curved hallway spaces. Another challenging project was leading design for Tim Burton’s exhibition ‘Lost Vegas’ back in 2019 which was ambitious in scope and a fun rush to pull off in a short amount of time. The opportunity of translating Burton’s vision and sketches into neon artwork, hologram displays, and more, felt like a culminating moment combining all of my prior skills.
LD: What's next?
CW: Anything! I’m proud to feel established in my career as a perfectionist with a very niche skillset that has endless applications across many industries. Being nimble as I run my own studio puts me in a great position to continue implementing my work across different spaces, while staying open and available for collaborations both small and large.
LD: What advice would you give to young artists/designers starting out?
CW: Get good at teaching yourself, and never be afraid to learn a new tool. If you’re in a rut, look outside of your industry for fresh inspiration. Never do the same thing twice, but if you do, add one more element you didn’t know before. Collaborate! You don’t need to be an expert at everything, use it as a chance to bring people together. Don’t worry about the best expensive technology, there’s always a cheap way to whip something together. Sometimes it’s the better way. Overall, be curious and follow what genuinely excites you!