Bram Snijders is a Dutch media artist whose works include augmented realities, video projections, interactive installations, robotics and live cinema. In his work, Bram explores the capabilities of various media and digital
technologies for mixing virtual dimensions with the physical world. He is particularly interested in how the virtual is influenced by the physical and vice versa.
Lives and works in Utrecht, The Netherlands
Co-founder: DEFRAME visual collective and FIBER festival
DEFRAME is a collective of visual artists and audiophiles, whose focus lies on audiovisual installations and live visual performances.
Its members share a passion for creating immersive experiences, exploring the possibilities of current media technology and are known for their innovative and space specific approach towards using projections.
Sensible 1.0 is about the ability to sense a virtual layer, constructed out of digital matter in a physical space. The essence of the installation is the virtual layer. The virtual layer is a representation of x y z coordinates, which are captured real-time in a physical environment.
Sensible1.0 exists in a virtual space which manifests itself in between the digital and the physical.
The virtual layer consists out of real world x y z coordinates, translated into digital x y z coordinates and the overlaying of the physical and the digital dimensions.
Only when an object or a person is positioned at the coordinates of the virtual layer (within the physical and the digital space), it will reveal itself in the manifestation of projected light.
Sensible 1.0 is the outcome of an exploration into modern technologies combined with applied open source knowledge and human interaction.
Bram Snijders / DEFRAME Collective
Developed at V2_Lab
To Be Reproduced is an interactive video installation that revisits the classic painting ‘Not to be Reproduced’, a work made in 1937 by the Belgian surrealist painter René Magritte. The installation reflects on the pervasiveness of virtual spaces that have become an integral part of our daily social lives, and the way data traces are used to build sophisticated reproductions of the user. In To Be Reproduced the viewer enters a hybrid space where the physical and the virtual world are closely intertwined.
Positioned in front of the mirroring plane the viewer is enveloped in a virtual space where it meets a faceless digital reproduction of itself.
As other participants are mirrored correctly the viewer takes on the role of the person depicted in Magritte’s painting. This uncanny representation of the faceless user in a graphical point cloud refers to the voyeuristic nature of modern communication
culture and to the data traces that are used to generate sophisticated consumer profiles. Instead of depicting people by mimicking nature, models are informed by analyzing metadata