Anything I create with light is actually sculpture

Interview with the Projection Mapping Art Director, Jan Morávek

Jan Morávek studied sculpture at Umprum in Prague, where he stayed for the next few years as a lecturer in the Department of Fine Arts. He then moved to the Ladislav Sutnar Faculty of Design and Art in Pilsen and headed the Multimedia studio for ten years. Since high school, he has moved step by step through the concert scene, from small local events to touring with bands such as Rammstein and Depeche Mode. After this he was just a small step away from focusing on projection mappings. He founded Multilab studio and has been working with XLAB since 2022. Our collaborative projects include #StandWithUkraine, Lighthouse and many more.

How do you perceive the connection between sculpture and  videomapping?

Sculptures, just like videos, convey their own ideas, and in the case of mapping, a short story is expressed through symbols, just like in still sculptures. For me, sculpture and building are similar objects that must ultimately have a plastic effect, often different from what they seem at first glance. Mapping remodels an object several times in just a few minutes using light. Thanks to the increasing performance of projectors, we have more and more possibilities to connect an object with the story we want to tell.

How do you connect an object with the story?
Videomapping, which is based on a storyline, has a similar principle to an animated film. The subject, screenplay, storyboard, animatic, and everything is on one map. Usually, the map is created as a 3D model of a specific building, and the story then utilizes the possibilities and limitations of the architecture's shapes. Choosing a suitable building is often crucial for the final effect for example, in the #StandWithUkraine project, we worked with the Ministry of the Interior building. It was a fortunate and very good choice. The simplicity and location on the Letná plain greatly supported the final impression. We imagined that the building was directly in Ukraine. We broke windows and projected the demolition of part of the building to make the story as authentic as possible and draw the viewer right into action. For me, it was essential for the building to come to life and connect with the subject as a visual monument to everything we wanted to convey to the viewers.

Is it possible to project on multiple buildings at once?
Yes, it is possible. For example, during the Opening show of the new exhibition of the Reliquary of St. Maurus in Bečov, we used three projections and projected onto several buildings at once. The main projection on the castle was a view of the celebration inside. Along the way around the archive, we erased another wall and visually allowed the audience to enter the library. The third projector lit up the first floor of the Pluhovský houses, creating a view into the actual exhibition of the Reliquary. At the very top of the tower, a crown of lights was created in response to Eleanor Beaufort's diadem. More than historic importance we made mirrored reflection that surpassed the borders of the castle and expanded the celebration not only throughout the valley but also onto the clouds above it. The only danger is light pollution and the parasitisation of lights on projections. That's why such events are much more demanding in preparation and technology.

What is your process for creating the concept and visual style for projections?
It can't really be summarized as a single process. A lot depends on the brief and the client's needs. There are projects where I have complete creative freedom, and these usually results in a higher quality and more innovative output. But there are also briefs that are very restrictive, which generally leads to more conventional and popular forms.

As with most projects, it starts with the goal. In other words, what is the objective, what do we want to communicate, and how do we want to do it?
So, to simplify. I first gather materials and then start drawing based on how I perceive and feel about the project. I create a scenario in my mind, which I then transfer into a moodboard and a storyboard. For commercially-oriented projects, I try to convey the client's vision, while for projects like #StandWithUkraine, I focus more on emotions and feelings.

How about sound design?
Similar to other parts, projection mapping is usually not the work of a single person, as we utilize the complete range of 2D and 3D animation, video recording, and pre-existing video footage. Just as the animatic is created through the gradual addition of materials, the sound design also develops in the same way. The sound draft and theme are determined during the video processing phase thanks to the storyboard, which sets a certain rhythm for the video. However, it is only with the final editing that the sound can be finished and supplemented with sound effects that respond to the storyline and visual effects. Sound is an integral part of projection mapping because, just like the size of the object, it supports the overall feeling.

What are the new trends in the field of videomapping?
Recently, some have been experimenting with new formats, such as connections with theater, lights, lasers, artificial intelligence, and other elements. It is important to constantly try new things so that we do not stay in one place and can continue to move forward, and thereby educate and develop the viewer.
Throughout time, the technology has improved, allowing for more possibilities, including 3D effects. Currently, projection mapping is also being experimented with in nature, such as trees, forests, and rocks, although it is a challenge because these objects are in motion.

What is your view on artificial intelligence and the creative process?
While artificial intelligence could generate guidelines for creation, it would not spark creativity and would not include random elements that can subsequently be desired. Therefore, human presence is still important in the birth of videomapping, just as it is in sculpture and other artistic fields. AI can quickly and effectively link what has already been created, which can often appear new, but in reality, it is based on data that has already emerged along the way. That's where the previously mentioned randomness comes in. However, I don't want to exclude such a powerful tool from the process. On the contrary, it is increasingly being used for mapping. In the creative process, perhaps more than anywhere else, the well-known saying that "it can be a good servant but a bad master" applies.