INDUSTRY ICONS
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Pink Funhouse tour, 2009-10
I love working closely with artists to make sure we create a unique identity that they and the audience can connect with” I love working closely with artists to make sure we give them a unique identity they can connect with and the audience can connect with. Spending time to research and figure out who they are, how they perform best on stage and how to translate that into the visuals – creating something that works with their identity and the audience can connect title, we had the theme, and I think that defined her live shows.
performance was mind-blowing – that girl is so talented. For that
performance, that set-up was simple because it had the LED screen in the back with her in the front – and we started with a reverse shot. The song was about stopping the pollution of our oceans for young people. I created the performance with some beautiful plastic debris entangled in fishing nets, which caused a bit of a challenge to the production. We had a chat about it and I told them all they had to do was cover it with black felt so it doesn’t get tangled when rolling it out – and it worked! We got there in the end. The performance looked incredibly beautiful in the end; the content was both imaginative and playful and I thought that it fit the performance very well. What is your favourite project you’ve ever worked on and why? The one that stands out to me was the Pink Funhouse tour in 2009-2010. It was when I was working with Mark in the studio in London and he was doing the client-facing meetings with my material. I had seen all her other shows and thought she was so powerful. I knew that, if her show ever landed on my desk, I would create something so strong to support her concepts in one because she had so many incredibly moving stories to tell. I was so lucky I had the opportunity to design it and even luckier that it was the fantastic Funhouse album. We had the
Dami, Australia’s entry at Eurovision 2016, showed the risks of social media
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