The SHOWFIELDS series — 20 frames. Steer with your cursor — left rewinds, right advances.
Situation
I wanted to create a more accessible augmented reality system that gave equal weight to the physical object and the viewer’s experience, rather than relying on conventional headset-based immersion.
Task
My goal was to design and prototype an AR/VR platform that could support visual, audio, kinetic, and interactive elements while avoiding the common barriers I observed in existing systems, including nausea, imbalance, disorientation, and participant discomfort.
Action
I began with academic and practical research into AR/VR systems, then studied audience behavior around works including Jordan Wolfson’s Real Violence at the Whitney Biennial, Ryder Ripps’ Diventare Schiavo at the Venice Biennale, and a ZBrush demo at NCECA17. I observed and interviewed participants, then tested multiple devices myself, including HTC Vive, Google Cardboard, and similar binocular-lens systems.
From that research, I found that novelty drove participation, but many systems left users feeling physically uncomfortable or socially exposed as unwitting performers. To move away from those limitations, I explored alternative wearable platforms including hats, straps, headbands, and medical devices before selecting construction hard hats for their adjustability, durability, cleanability, affordability, and visual variety.
At the University of Michigan in 2017/18, I developed the first generation of Ostrich AR as a test platform for fastening methods, kinetics, coatings, audio, video, lighting, and other sensory elements. I then built three additional units to explore aesthetic direction and test the system with art and design communities in Ann Arbor and Detroit.
For the second generation, I created a more streamlined visual language using mirror acrylic and developed a new video interface, 2nViz, designed to deliver an AR/VR experience without the physical limitations of mass-market headsets. Prototype testing confirmed that O2 could offer an immersive augmented experience without the nausea, blurred vision, imbalance, or disorientation common in conventional systems.
Result
Although the project began as a speculative studio experiment, a studio visit with Tam Gryn, head curator for SHOWFIELDS, led to an invitation to create an OstrichAR-based interactive installation for the SHOWFIELDS NYC launch. With only an 8-by-10-foot space and an initial two-week run, I built an installation featuring 15 Ostrich systems, custom display racks, and a digital selfie mirror running 2nViz.
The installation was extended from two weeks to four months, attracted more than 100,000 visitors, and generated millions of social media impressions.