SUBHAZE | Live Audiovisual Performance | ARTECHOUSE | Washington, D.C. 2019
SUBHAZE | Christian Hannon & Ricardo Romaneiro

[ MadMapper ] Please tell us about yourself, your artistic journey. Who is NON Visuals & Subhaze?

[ Christian Hannon ]  My name is Christian Hannon, a.k.a. NON Visuals. I’m a new media artist & director, co-founder of Subhaze Studio in collaboration with Composer Ricardo Romaneiro and the co-creator of the project Myth of an Atom (MOAA) in collaboration with producer/musician Fallen Atom.

[ M ] How did you come up with these names?

[ C ] The name NON Visuals comes from the prefix non: not: nothin: the absence of: or “not of the self.” It’s become an allegory to my creative process depicting this sensation that I’m not the one creating it. Also its the last three letters of my last name haha.

SUBHAZE: Invisible Dimensions was actually the name of an early performance in 2016 that Romaneiro & I were collaborating on with musician Vasko Duvaski & sound engineer Leo Leite. It was one of our first shows together where the main focus was performing the audio & visuals live. We were really intrigued by the space & tone we could explore together in that context and how different it was from a music performance that has visuals. Continually referencing back to that show over the years made the name stick out when we decided to name the collab.

[ M ] Who and What was an influence most to become an artist?

[ C ] Drawing pictures & images with anything I could find are my earliest memories. I was fortunate enough to have a family that really motivated me just to make things. To me, it seemed very natural. I was always intrigued by practices that involved observation, & a level of improvisation or performance whether that be a jazz musician rifting or an artist sculpting the model from life. I like this idea of questioning the nature of reality while playing with it. I always felt art & music really embodied the spirit of that. I have a strong love for philosophy, mythology, psychology, architecture, mathematics, science, & technology. “New Media Art” has become the perfect device for me to explore all of these concepts. The relationship between sound & light, human perception, as well as micro/ macro investigations, are my general subject matter. 

SUBHAZE | Live Audiovisual Performance | National Sawdust | Brooklyn, NY 2018

[ M ] How did you get into Audio-Visual performance?

[ N ] I went to school for Classical fine art – painting, drawing, & sculpting the figure – but the music was always an important part of my life. I grew up going to a lot of concerts and some of my closest friends are musicians & producers. I was always envious of the immediacy of music. I wanted to have the same instrumentation as a musician but with light & visuals. Merging those two interests was finally possible in an A/V context. I tried to play bass in middle school but it never really stuck. I taught a couple of chords to a classmate in our visual arts group who would end up becoming a touring guitarist and producer. That classmate was Fallen Atom. My first exploration with A/V performance was with our project ‘Myth of an Atom.’ We were in our early 20’s; he was learning production & using Ableton and I was losing interest in traditional mediums and transitioning to computer-based art and digital media. It started off with me making animations for his music and eventually we just started creating things from scratch together. Other people saw what we were at doing at our apartment in Brooklyn and eventually I started doing live visuals for other bands, producers, & events. Soon after that led to making tour visuals for a living, but I was more interested in the unique areas of sound you could explore in an A/V context. Seeing artists like Joanie Lemercier, Tarrik Barri, Robert Henke, Ryoji Ikeda, & Amon Tobin helped show that it was possible. I was really interested in the relationship between sound, light, & space in general. Finding collaborators that wanted to explore that in different ways became the most important agenda. That’s how it all started.

[ M ] Where do you show your work mostly, corporate events, clubs, art galleries, festivals, or any other?

[ C ] Set & setting is very key for this type of work. The scale is such an important factor, especially for the visuals. Creating installations & performances is a great way to benefit from the art & music world. Generally, I show my work in more of an art gallery, music venue, or festival context.

[ M ] Tell us about your .ZIP: Unzip the Future Performance.  

[ C ] Artist Cao Yuxi was curating an exhibition called .ZIP: Unzip the Future at 3LD Art & Technology Center in NYC. I had spoken with him online for some time so I was excited to see what he was up to in person. He decided to start a Live AV Series separate from the weekly exhibition and invited me to perform both my Subhaze & MOAA collaboration during that series in 2018. The following year we were invited to put a piece for each project in the exhibition rotation. That was one of my first experiences having a large scale AV installation up for the long term. It was also my first experience with floor projection which is very fun to play within both a performance or install context. He’s become a dear friend of mine and I’m happy to have him in this community of artists.

[ M ] Tell us about 4:3?

SUBHAZE | 4 : 3 | Electric Paradise Festival 2018

[ C ] 4:3 was an idea I wanted to do for years but it was never convenient to do. I saw that the use of translucent material and holographic effects were getting increasingly popular and I felt it was time to make it. 

SUBHAZE was commissioned by the ‘House of Creatives’ Music & Arts festival 2018 in collaboration with Lucid Screen: Santiago Ramos to do another installation for our second year. I brought the idea up to Santiago and he was like “why aren’t we doing this for the festival!?” He was a key component in helping the vision of 4:3 come to life. It could be used for both live performance and installation that people could walk in. I always wanted to create a mobile immersive structure or space that could I perform the visuals within. It incorporated a quadratic surround sound system. Both Romaneiro’s and my performance is very much based on knob turning, buttons, and sliders. We both felt it carries more weight to the live aspect of our performance vs the traditional 2D screen. Having a setup that wasn’t going to change from venue to venue allowed us to hone in on the content & performance. 

SUBHAZE | 4 : 3 | The Light Box at Goldman Warehouse | Art Basel 2018

We also liked the idea that we could place the set-up centrally, with a 360-degree viewing angle for the audience. Being surrounded by the visuals & sound while we’re performing creates a different attitude. We make different decisions live in this context. Ultimately, we chose the name 4:3 because it embodies concepts that can be found in music & visuals that revolve around the square or cube. After we performed 4:3 for the first time, Subhaze immediately started getting more attention.

[ M ] How do you assemble your set-up?

[ N ] We generally send a tech rider that involves sound rentals & the frame is built out of basic wood & then painted. We carry our 4 projectors and custom screens. The projectors are placed on top of the frame. Eliminating the need to rig or hang projectors in the physical spaces we’re going to is very helpful. Having the visual & sound tech all in one place without the “need” for FOH has its advantages. I took a different approach to the design of 4:3 and chose what projectors I wanted to use & then designed the installation based on the projector specs. I feel that this really helped with quality control and avoiding a situation where you push the lumens to far on the projectors. 

[ M ] Tell us about your performance at Artechouse? How did come about?

SUBHAZE | Live Audiovisual Performance | ARTECHOUSE | Washington, D.C. 2019

[ C ] When Artechouse approached me last year about their Immersive Showcase room in the Miami Location during Art Basel, I thought it was perfect for Ricardo & I to do a Subhaze Installation. We received a wonderful response from the piece that kept it in circulation there for two months. Artechouse recently started a Live AV Series and we were delighted when they invited us to perform at the massive D.C. location. Having the audience and well as the performers immersed in the AV space in a setting like that is something we’d like to play with more.

[ M ] What do you use for your performance?

[ C ] For software, I mainly use madmapper, touchdesigner, and in some cases modul8. I use an Akai Apc 40 to midi map all my parameters & settings for the visuals. My collaborators are generally using Ableton. There are different linking and triggers we can create with both software platforms.

[ M ] How do you use MadMapper? 

[ C ] I use the software heavily for complex mapping for multi-projector setups but I also house a lot of the performance directly in Madmapper. The shader material/ editor, video effects, queue system, & video player are a huge part of my process. There are so many ways to have madmapper communicating with other software & other computers in the performance realm which makes it such an important tool. I’ve been using madmapper for a long time I’m very comfortable with the software. I took a madmapper workshop, Mappathon™ with the artist, CHiKA in 2013, I remember speaking with her about what I was looking to create and she said something to me that really stuck – “Oh! You want to be a human sensor” – and I think that really helped me understand how important the performance aspect was to my A/V work.

[ M ] What do you listen to when you work? 

[ C ] Generally I’m listening to the music of whatever collab or show I’m working on repeat, haha. I really sit with the sound to see where it wants to go; I feel the sound has a motive and expresses how it wants to be depicted visually in space. That’s why I think it’s important to collaborate with people coming from the same tonal space as you or to pick a theme or concept you want to explore together. My music taste is all over the place but lately, I’ve been heavily listening to Flying Lotus, Bonobo, Shigetto, Thunderkat, & Amon Tobin. I love a variety of electronic, hip-hop, funk, soul, and ambient music for working. Sometimes I really need to zone into work, almost becoming it, other times I like to playfully dance around my studio – I guess that probably depends on the deadline.

[ M ] Any request for MadMapper future development?

[ C ] I’ve been really impressed with the direction Madmapper has been going in. I feel like every update solves something that I wanted or needed in the past. Madmapper being cross-platform (PC & MAC) with the addition of the shader material/ editor was a game-changer. I feel that continually pushing the creation of real-time content directly in the software is the move.

[ M ] Have you ever use our miniMAD?

[ C ] I have not been able to get my hands on a miniMAD yet but I feel like it would be super helpful for my installation work! I’m really intrigued by what I’ve seen and research about it.

[ M ] What is next for you?

[ C ] After working with such incredibly talented sound collaborators I’ve been inspired to create my own sound & music. My plan is to create my own solo A/V Installations & performances along with continually pushing Subhaze & MOAA. One of the most important things I’ve noticed working with projectors is at the end of the day it’s still a light source. I really want to explore light, sound, & space in general. I’m dying to get my hands on some LED by Garagecube. The capabilities of using LEDs within madmapper look incredible!

[ M ] Thank you, Christian Hannon from NON Visuals & Subhaze!

[ C ] Thank you

Posted on Jan 6, 2020 in Artists

Check out the amazing live audio visual performances by SUBHAZE Studio, using MadMapper!

In collaboration with musicians and engineers, the 2 founders create immersive and gorgeous AV live performances in various venues.
And they do create awesome installations as well!


“SUBHAZE is the collaboration of composer Ricardo Romaneiro & visual artist Christian Hannon exploring the connection between sound & light in various media.
The project explores electronic soundscapes with classical techniques, performance and multimedia design.





Together they create immersive concerts and installations with an array of artists & venues creating an audiovisual experience that transcends the traditional forms of presentation.”

All pictures and media © SUBHAZE Studio

Links :

Posted on Oct 9, 2019 in Artists

Take a glance at the amazing lighting installation by Cosmopop & VEM Visionemotion for the Time Warp 2019 !

They succeed to exploit the huge floor 7 of the famous festival by creating a massive setup :
No less than 5 488 LED slices were used, which represents 38 760 LED pixels for 228 DMX universes.
They used MadMapper on 2 computers for the pixelmapping and another computer was running MadMapper for vjing with live generated content
(Plus content distribution over NDI and 28 MADRIX nebula)

Pascal Bach from VEM who was also the light and visual operator, kindly shared with us several screenshots of his MadMapper MADLight’s settings :


Tremendous job !

Event pictures by Damiano Alessandri © Karmat Musci GmbH

Pascal Bach

VEM Visionemotion GmBH

Cosmopop GmbH

Time Warp Mannheim


Posted on Sep 2, 2019 in Artists

SONPENDULAR is an audiovisual concert with immersive projection mapping by artists Sergio Mora-Diaz, Marco Martinez and Andrea Gana, which takes place inside the Church of El Carmen Bajo de San Rafael in Independencia, Santiago, Chile. The temporary intervention makes use of projecion mapping, lighting and live music to reactivate and resignify this religious heritage building, in disuse since 1958.


The project is an aesthetic research about time and space, which invites the viewer to a ritual of light and sound, rich in geometric patterns and audio in real time. The sound consists of ambient electronic music, mixing sounds from field recordings and original compositions performed using Ableton Live and analog synthesizers.


The visuals display geometric and generative patterns designed in real time using Madmapper, Modul8 and TouchDesigner, seeking to enhance the architectural elements of the building. These compositions refer to cyclic patterns and pendular movement, generating intense immersive atmospheric states.

The artists behind Sonpendular are Andrea Gana in live music, along with Sergio Mora-Diaz and Marco Martinez in the real-time creation of visuals and immersive projection mapping, produced by Delight Lab and Chincol Producciones. The piece was first performed in July 2018 and later in January 2019 with the collaboration of guest musicians Tan Levine and Mariana Olivares, adding gongs and percussion to the atmosphere proposed by the original piece.

You can take a look at their other projects here :

After having mapped, among others, the Berlin Cathedral or the Centre Jujol-Can Negre in Barcelona, the artist Sinoca has now used MadMapper again to create an amazing experience called Kubrick’s Odyssey 2019 : a pioneering audiovisual mapping experience that has never been made in a cinema before.

The -unpublished- immersive video mapping created by the musical composer Roger Subirana and the visual artist Silvia Isach (Sínoca) is inspired by Stanley Kubrick’s ‘2001: A Space Odyssey’ film.
This new show activates sensory stimuli thanks to the fusion of sound effects and music with images on two surfaces, the screen of the cinema and the monolith, creating a 3D space.

The video of the Kubrick’s Odyssey 2019 project at a cinema in Vilafranca del Penedès (Barcelona) :

You can take a look at Sinoca’s other projects here :

OPUS is an audiovisual performance collaboration between 1024 architecture & Tovel that took place last June in Paris, combining classical music with electronical distortion and rythm along with an immersive digital-architectural landscape that morphs and distorts with the sound.

A voyage to Italy, a romantic dream in the digital era composed by Matteo Franceschini who is joined on stage by the Italian string quartet Quartetto Maurice and by IRCAM’s acoustician Manuel Poletti at the forefront of sound research. The young composer crosses all aesthetics, classical composed chamber music combined and distorted with experimental electronical rythms and sounds.

By taking thousands of pictures with drones, 1024 architecture used photogrammetry software to create the digital 3D scans of architecture and the natural landscape of Sicily. These digital structures visualized with millions of particles in a void space that are then manipulated, distorted and morphed together to the music, generatively programmed with 1024’s and partner garageCube’s own coded new realtime graphics software Zonk.

You can take a look at what the show looked like on the video below,

Can we dance on contemporary music? This incongruous question of Matteo Franceschini encouraged him to push the form of the “classical concert” towards the “dance floor”. Beginning as an evening of chamber music, OPUS gradually transforms the musical and visual narrative, dreamlike and theatrical into a pure electronic scene. In this creation, the string quartet, an iconic genre of scholarly music, interacts with technological devices, creating a constant interaction with video and light. The photogrammetry technique makes it possible to scan and compose real images – in this case the unfinished constructions of southern Italy – from very different points of view. This 3D virtual scenery will be directly modified by the vibrations and distortions of the quartet.

Don’t miss this interview too!

Frame Perspective is a 30m long luminous installation consisting of frames and LEDs. The natural perspective of the structure is enhanced by an organic light composition, like a breath or a wave.
Frame Perspective resonates with its environment and its scale and rhythm, creating a physical relationship and then involving the viewer in a proper temporality.

Olivier Ratsi worked on this project presented at the Constellations de Metz festival with Thomas Vaquié. Pierre Guilluy from the garageCube team also tested an upcoming feature for the miniMAD, stay tuned!

Kévin from Blockhouse Studios (US) kindly accepted to answer our questions,
so let’s discover the studio’s huge mapping projects and installations using MadMapper 😉

Could you present the company you work for? 

I am Kevin Winkler the Owner of Blockhouse Studios with my business partner Andy Beargie.
We started Blockhouse Studios 7 years ago in Bloomington Indiana. We started as a production company and recording studio and have expanded in to the projection mapping market. Projection Mapping has become large part of out business in the last 4 years.
We took to this projection mapping very quickly as it used every aspect of the broad skillset that Andy and I have acquired over the years.

Could you present your latest works, and the associated setups? 

NCAA IU Basket Ball Court @ Assembly Hall
For this project we used:8x 25,000 Lumen Epson Pro L25000U Laser projectors in a 2×2 configuration with stacked pairs.
Spec’d iMac Pro with eGPU AMD WX9100 Pro
Connected to Epson HDBaseT Converters to 320FT Cat6.

Why did you choose to use MadMapper?

Stable, Scalable, low-cost, always updated with new hardware compatibly, user friendly, and simple.
I feel one strength I’ve noticed is the Mad Mapper team carefully chooses which features to implement. Many of the other solutions on the market have so many options and features that don’t always work properly or make the application overwhelming to learn and navigate.
I feel this has allowed the Mad Mapper Team to focus on making every feature work as smoothly as possibly while keeping the application lightweight and powerful. In our testing the programs scales with your hardware with no issues. If you have a system that can push 16x 4k projectors with 4 High End GPUs and NVME RAIDs then Mad Mapper will push it.

How did you know about MadMapper?

Six Years ago I typed projection mapping into google and Mad Mapper came up. 

What are the 3 key-features you like the most? 

This is by far the most exciting feature added, its opened so many options for shows.
2. OBJ Import and using video files as UV
3. Spacial Scanner

If you had a (single) 3 request to improve MadMapper what would it be? 

1. Allow me to drag folders in the media browser so large projects can be more organized.
2. Bezier curves on mask
3. Keep expanding on the cue system

Thanks a lot Kevin !