How is that different than the collaborations you do with Tipper? That’s a huge part of the Dead, no show is ever the same. He is constantly changing up the looks to keep it fresh and new. He really puts together an incredible, visually stimulating show. As far as the creative process, mostly I work with Chris Ragan who is the mastermind behind the looks of the lighting and visual production. It really allows you to have a huge palette to pull from, desert scapes to galaxies, dancing skeletons to beautiful cloudscapes, the journey they take the audience on through the night really allows so much to be explored. There are so many wonderful tales told through their songs. The Dead is a playground for visual stories. Two decades later I was doing it with the band that had started my visual journey. I remember while watching them I said to myself that’s exactly what I want to do. I had really never seen anything like this at the time. In 1993 I was at a Dead show in Las Vegas and they had these huge screens with this amazingly beautiful psychedelic art on them. Working with The Dead has been a dream come true.
That’s an amazing experience!! Tell us what it’s like to work together. You’ve toured with the Grateful Dead/Dead and Company, as their visual artist. It’s important to learn as much about production as creating content. Much of this has to do with diagnosis of equipment. Second is being able to recover as quick as possible. The most important thing is having back ups that’s from media servers to cables. But yes, this is one of the toughest parts. How do you prepare and deal with that?įirst of all I pray before every show. Sometimes things go well, and sometimes things don’t. There’s a lot of pressure for everything to go right in a live performance. This is why I liked creating visuals that could be altered and mixed to the music I was into, exploring the combination of both visuals and music. This is what made me want to put visuals to live music.
Most of these kind of visuals were accompanied by music or some kind of sound track. That allowed you to visit imaginary places. I liked animations that took you on a journey. I also was looking to create a style that was my own. This started changing and slowly allowed for content to be created by individuals.
THE ART OF THE VJ AND LIVE VISUALS SOFTWARE
When I started working with multi media there was not a lot of software and those that were available were extremely expensive and you needed massive computers to run them. Just like Hip Hop influences music, modern dance, films etc… Graffiti or street art influences multi media, commercials, movies, visual arts, etc… It is the pulse of the next generation. How did that form of the arts influence where you are today? In a way street art is a “live performance” too. You were also doing street art and graffiti art from a young age in LA. Many of these friends also helped shape my career in the visual arts. Luckily many of these artist became friends. As far as helping publish a magazine, it allowed me to meet musicians, visual artists, techies and so many influencers of the arts. Many of my friends ended up working in the entertainment industry one way or another. Johnathan Singer: Living in Los Angeles growing up was an amazing thing for there was creative people everywhere. How did all the exposure to the creative people you were profiling shape your vision? Nancy Eperjesy: You’ve been involved in the visual arts from a young age, being a graphic artist and publishing a magazine with your mother, “West Side Life” in Los Angeles.
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